French-American conductor David Grandis talks about discovering the music of French composer Max d’Ollone and championing his repertoire in the concert hall.

Regular readers of the Florent Schmitt Website + Blog know that occasionally we “relax the routine” a bit and delve into the artistry of other composers — particularly ones who lived and worked in the same time period as Schmitt.  (See, for example, these articles about Stravinsky, Ravel and Zandonai.) Another such person is Max […]

Quiet intensity and moving moderation: Messe en quatre parties, Florent Schmitt’s final composition (1958).

Many music-lovers I know are under the mistaken impression that Florent Schmitt’s Symphony No. 2, Op. 137 was the last piece the composer created.  It’s a reasonable supposition because the Symphony received its premiere performance in Strasbourg on June 15, 1958, by the French National Radio Orchestra under the direction of Charles Munch, just two […]

Canadian pianist Linda Ippolito talks about discovering and performing Pupazzi (1907), Florent Schmitt’s whimsical tribute to Commedia dell’Arte characters.

Over the past 20 years, the vast majority of Florent Schmitt’s music for piano solo has been rediscovered by a new generation of music-lovers. Moreover, nearly all of this music has been commercially recorded at least one time. However, one piano composition, Pupazzi, Opus 36 (Puppets), hasn’t been part of the revival, and the work […]

Diverse winds: Florent Schmitt’s late-career quintet Chants alizés (1951-55).

In his later period of creation, French composer Florent Schmitt would turn to the sonorities of wind instruments for a goodly number of his creations. This may seem surprising for an artist who had made his reputation on his numerous “big orchestra” compositions along with a noteworthy collection of “orientalist” creations.  But if we recall […]

Simplicity, elegance and wit: Florent Schmitt’s piano suite Small Gestures (1940).

Although he played the flute and the organ, French composer Florent Schmitt’s main instrument was the piano. So it should come as little surprise that when we look at Schmitt’s extensive catalogue of 138 opus numbers plus several additional creations, piano works comprise the largest single component of his output. On the other hand, Schmitt’s most […]

Canadian soprano Karina Gauvin and French conductor Fabien Gabel talk about becoming acquainted with Florent Schmitt’s choral spectacular Psalm 47 (1904) and preparing the music for performance.

On May 29, 2019, the Orchestre Symphonique de Quebéc and its chorus presented the orchestra’s final concert of the season – one that featured French music exclusively. The event was a red-carpet affair at the Grand-Théâtre in Québec City in which local dignitaries were invited guests of the orchestra.  Also noteworthy was the centerpiece of […]

Director Bill Barclay and conductor JoAnn Falletta talk about mounting a dramatic adaptation of Antony & Cleopatra that pairs Shakespeare’s words with Florent Schmitt’s jaw-dropping music from the 1920 Paris production of the play.

By now, it seems that Florent Schmitt’s two Antoine et Cléopâtre Suites, Op. 69 have at last transitioned from being true rarities to become orchestral repertoire that is actually known.  There are now four commercial recordings of the suites (three of them made within the past decade), and in the past several years the music […]