“Those of us in media production always do our work with the ‘talent’ in mind: ‘Who’s going to be doing the voiceover? How do I write to his or her strengths? If it’s a video storyboard, what collateral do I have to work with?’ Florent Schmitt didn’t seem to compose with the players in mind. […]
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“To appreciate this music fully, ready the hot tub, invite a few friends over, burn incense and uncork the wine you were saving for a special occasion.” — International Record Review One of the most intriguing pieces of music composed by Florent Schmitt during his “orientalist” period was the incidental music to André Gide’s new adaptation […]
“[Florent Schmitt’s four-hand piano works are] probably the finest in the whole modern repertoire. Sanely modern and splendidly constructed (they are a joy to play), his large output — in quality and inspiration — stands alone, and his genius finds full expression in this form.” — Alec Rowley, English composer and keyboard artist Florent Schmitt’s […]
One of more successful Schmitt music albums to be released recently features Yan Pascal Tortelier conducting the São Paulo Symphony Orchestra and Chorus in Psalm XLVII, Op. 38, with Susan Bullock singing the important soprano part. It’s coupled with the composer’s most famous work, La Tragédie de Salomé, Op. 50, along with a comparative rarity, Le Palais hanté, Op. […]