Paul Paray: The conductor who popularized Florent Schmitt’s ballet La Tragédie de Salomé (1907/10) for half a century.

Music history tells us that the French conductor Paul Paray (1886-1979) gave more first performances of Florent Schmitt’s compositions than any other director. Indeed, Maestro Paray premiered nearly a dozen of the composer’s creations spanning more than a quarter-century, including the following works: Trois rapsodies, Op. 53, January 29, 1928 Cinq motets, Op. 60, January 21, 1934 In Memoriam, Op. 72, […]

Four important compositions of Florent Schmitt to be featured in the upcoming 2018/19 concert season by orchestras in Bern, Buffalo, Malmö, Mexico City, Norfolk, Paris, Québec City, Warsaw and Washington.

The international Bachtrack website is in the process of uploading its global database of classical music programs for the upcoming season. Although it isn’t an exhaustive listing of every professional group, the site covers nearly all of the major orchestras, opera and ballet companies around the world, making it the “go-to” resource for information about what’s happening […]

French pianist Bruno Belthoise talks about keeping Florent Schmitt’s Une semaine du petit elfe Ferme-l’oeil (1912) part of his performing repertoire over the years.

In 2013, one of the earliest interviews I conducted for the Florent Schmitt Website + Blog was with the French pianist Bruno Belthoise.  I had discovered him from YouTube, where several movements of Florent Schmitt’s piano four-hand suite Une semaine du petit elfe Ferme-l’oeil, Opus 58 had been uploaded from a performance he gave at the […]

Experiencing Florent Schmitt’s Symphony No. 2 (1957) in concert: An eyewitness report from London.

On October 27, 2017, Sakari Oramo and the BBC Symphony Orchestra presented Florent Schmitt’s Symphony No. 2, Opus 137 — the composer’s final orchestral work, which was completed in 1957 when Schmitt was 87 years old. This performance at the Barbican in London was the first time the Symphony No. 2 had been presented in concert […]

Arts critic Steven Kruger talks about the music of Florent Schmitt and its place in France’s “Golden Age” of classical music.

One of my favorite critics on the international classical music scene today is Steven Kruger, who is a reviewer for New York Arts and Fanfare magazine.  What is particularly special is Kruger’s way of tying his music criticism to broader cultural and artistic undercurrents, often making fresh and novel connections that go unnoticed by others. […]

Musicians Edward Rushton, Guillaume Le Dréau and JoAnn Falletta talk about Florent Schmitt’s captivating Chansons à quatre voix (1903-05).

Throughout his long composing career spanning from the late 1880s to the late 1950s, Florent Schmitt would return again and again to the human voice. While he never composed an opera, he wrote voluminous pages of music in every other form that features solo and mixed voices. Tellingly, the composer’s Opus 1 and his final Opus 138 […]

Experiencing Florent Schmitt’s Antony & Cleopatra (1920) in a dramatic adaptation: An eyewitness report from London.

In 2010, the American conductor JoAnn Falletta resurrected a Florent Schmitt rarity: The Suite No. 1 from the incidental music the composer had written for Andre Gide’s adaptation of William Shakespeare’s play Antony & Cleopatra.  It was an Ida Rubinstein production done in her characteristically outré style: an entire-evening extravaganza mounted at the Paris Opéra. […]