# Florent Schmitt



## Sid James

Norman Lebrecht writes of C20th French composer* Florent Schmitt *(1870-1958):



> The baneful xenophobia of this critic, composer and administrator affected French music for half a century. He was a presiding member of French musical societies, where he opposed all things foreign, especially escapers from Nazi Germany. His music was insipid. The ballet _Tragedy of Salome _(Paris, 9.xi.07) won him modest notoriety soon after Strauss's opera. It is empty of eastern enchantment, although culminating in a huge crash and dedicated to Stravinsky. The _Psalm 47_ setting for soprano, mixed chorus and orch. (27.xii.06) has more modern textures and was recognised by Messiaen as a precursor of his _Petites liturgies._ A parallel piano quintet (1908) was his most published piece.


Lebrecht also notes that Schmitt was of German ancestry, studied with Massenet and Faure, and won the Prix de Rome in 1900. He also served as director of the Lyons Conservatoire (1922-24). Other works: four ballets, much choral music, two symphonies (1941, 1958), a symphonie concertante for piano and orch. (1932) - a total of 137 opus numbers.

I just got a Naxos disc of French piano trios, and the "bonus track" is Schmitt's 3 minute piano trio movement. Compared to the Debussy and Ravel, the Schmitt has a pared down feel, and the repetition of the theme is similar to minimalism. Here it is on youtube:






So what do people know & think of this now obscure, but formerly prominent, French composer?


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## HarpsichordConcerto

Thanks, Andre. You know what? I was thinking to get that very Naxos disc you mentioned above! No joke.

As for Shmitt, I have not listened to any of his music. The link you posted was good. I enjoyed it.


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## Sid James

Well, there must be more similarities between us than I thought, HC! 

Anyhow, the Naxos French Piano Trios (Vol. 1) is a pretty good disc. I'm not sure if a second volume has been issued. But I'm interested in this medium as this year I have begun to go to the Sydney recitals of the "Trioz" group, headed by pianist Kathryn Selby. They will be playing the Ravel later this year (which Lebrecht says incorporates Malayan melodies, I can hear some "pentatonic"-like parts, but specifically Malayan?). The Debussy has this witty scherzo, which is very hard not to like. As I said, the Schmitt has a minimalist feel compared to the other two.

Anyway, Schmitt seems to be an interesting composer, especially as he influenced Messiaen & Stravinsky. His star seems to have somewhat faded since his death, but I wouldn't mind hearing his piano quintet, an important work...


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## Weston

I have that disc and in an amazing piece of synchronicity the Ravel trio came up today on my random playlist. You are right; it is symphonic in scope. In the finale, at about the 4:00 minute mark I felt I was listening to Sibelius' Symphony No. 1 as there is a very brief passage that coincidentally sounds like the theme from the 1st movement of that symphony. It is full of goose bump moments

The Schmitt piece (which didn't come up on my playlist today) is haunting and begs to be longer. Thanks for that link. After hearing some of the related links as well, I think I'd better seek out more of his work. Not all of them have a minimalist feel. The examples from his _ Psaume XLVII _ put Hollywood epic soundtracks to shame!


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## ptr

I have an unashamed fondness for Schmitt's music especially "La Tragédie de Salomé" (Op 50) in its original Ballet version for a small orchestra (20 plrs).. Used to have an french aircheck of this that was highly enjoyable, unfortunately it got displaced in a move, the CD I got as replacement of this on Marco Polo does not really make the work full justice.

Anyone know of a recording of of the full ballet score that bis really good (I have several of the symphonic suite, so that is not what I'm looking for)..

/ptr


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## Bone

"Dionysiaques" is a great piece for military band. Don't really know much of his other works, but I'm curious now so I'll probably pick up the Naxos.


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## Medtnaculus

Despite his notorious attitude and Anti-Semitism, I have to say his pianoworks have quickly risen to become some of my favourites. Like a mix between Ravel and perhaps some Scriabin. Excellent composer who deserves much more attention despite his behaviour.


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## Guest

I like his piano pieces "Ombres" and "Deux Images", as well as his Piano Quintet.


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## Medtnaculus

Kontrapunctus said:


> I like his piano pieces "Ombres" and "Deux Images", as well as his Piano Quintet.


I have never heard of the "Deux Images". Can't seem to find them anywhere either. Do you know the opus?


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## Medtnaculus

His orchestral works are just as worthy, if not more so, when compared his piano output. His entire output is begging for a proper revival.


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## Pugg

Medtnaculus said:


> His orchestral works are just as worthy, if not more so, when compared his piano output. His entire output is begging for a proper revival.


I do think in this time record companies watching every penny, look at this topic, started in 2011 and just 9 posts .
Not very sough after. ( no offence is meant)


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## ahinton

Schmitt's conduct was indeed reprehensible in the extreme during the 1930s and the war years especially. I do not, however, accept most of what Mr Lebrecht writes about his music and, like Wagner and (to a lesser extent) Chopin, one has to regard the music on its own terms and the conduct on its, without allowing either the former to blind one to the latter or the latter influencing negative thoughts about the former. His piano quintet is in my view one of the finest ever written although, as its three movements occupy little short of an hour and its level of intensity pretty highly charged for much of the time, performances of it tend sadly to be rather scarce. Other highlights of his prolific output are his violin sonata, _Le Tragédie de Salome_ and _Psaume XLVII_.


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## Five and Dime

To start the New Year in style, I'm treating myself to a traversal of my Schmitt collection:

Schmitt: La tragédie de Salomé, etc / Chandos










Schmitt: Works for Violin & Piano / Naxos










Schmitt: Piano Quintet, A Tour d'anches / Naxos










Schmitt: Symphonie concertante [WORK ONLY] / Naive










and finally Suite en Rocaille, for flute, viola, cello & harp, Op. 84
from French Flute Chamber Music / Naxos










I'm not too familiar with Schmitt. In fact the two Naxos discs above and the Symphonie Concertante are getting their first listens today. But so far I like what I hear!


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## Guest

Medtnaculus said:


> I have never heard of the "Deux Images". Can't seem to find them anywhere either. Do you know the opus?


I'm sorry, but I just saw your post! And I'm also sorry that I mis-named it: it's "Deux Mirages"! Anyway, it's on this John Ogdon CD:



















as well as on this 17-disc set:


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## Phillip Nones

I've authored a website and blog about this composer since 2012, and there are now more than 100 articles and pages uploaded about Schmitt's music and his relationships with other composers and musicians. There are also numerous interviews with conductors, pianists and other instrumentalists who perform Schmitt's repertoire today. You'll also find links to most of his scores (138 opus numbers plus several others) that are housed on the IMSLP database. The one musical selection referenced above, the slow movement from the "Sonatine en Trio" (1935) is not very representative of his style and I would suggest exploring other pieces besides that one to get a better flavor of his output. A contemporary of Debussy, Dukas, Roussel and Ravel but who outlived them by decades, Schmitt's composing career stretched more than 70 years from the late 1880s to the late 1950s, and he was also a Parisian-based music critic for nearly 30 years (1912 to 1939). Few people -- of any political or ethnic stripe -- were spared Schmitt's biting criticism if their music wasn't quality enough. Those interested in learning more can visit http://florentschmitt.com and explore by composition, performing artist or other topics.


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## Pugg

Phillip Nones said:


> I've authored a website and blog about this composer since 2012, and there are now more than 100 articles and pages uploaded about Schmitt's music and his relationships with other composers and musicians. There are also numerous interviews with conductors, pianists and other instrumentalists who perform Schmitt's repertoire today. You'll also find links to most of his scores (138 opus numbers plus several others) that are housed on the IMSLP database. The one musical selection referenced above, the slow movement from the "Sonatine en Trio" (1935) is not very representative of his style and I would suggest exploring other pieces besides that one to get a better flavor of his output. A contemporary of Debussy, Dukas, Roussel and Ravel but who outlived them by decades, Schmitt's composing career stretched more than 70 years from the late 1880s to the late 1950s, and he was also a Parisian-based music critic for nearly 30 years (1912 to 1939). Few people -- of any political or ethnic stripe -- were spared Schmitt's biting criticism if their music wasn't quality enough. Those interested in learning more can visit http://florentschmitt.com and explore by composition, performing artist or other topics.


Thank you for the info, welcome to TalkClassical by the way.


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## Portamento

*Florent Schmitt (1870-1958)*

Florent Schmitt (1870-1958) is one of the most fascinating of France's lesser-known classical composers. Born in the small town of Blâmont (Meurthe-et-Moselle, Lorraine) -a community practically within sight of the newly-drawn, post-Franco-Prussian War boundary between France and Germany -Schmitt's German surname belied the fact that he was a French musician through and through.

Schmitt's birth year was sandwiched in between those of the two towering masters of French music of the period: Claude Debussy (born in 1862) and Maurice Ravel (born in 1875). As such, Schmitt was very much part of the milieu in which these other composers lived and operated -yet he would outlive both men by decades while continuing to compose music up until the final year of his life (1958).

Educated at the Paris Conservatoire by such teachers as Théodore Dubois, Albert Lavignac, André Gédalge, Jules Massenet, and Gabriel Fauré (the latter two for composition), Schmitt would develop an "epic" style of writing that, while thoroughly French in idiom, exploited the grandiose aspects of music overlaid by masterful orchestration in the tradition of Nikolai Rimsky-Korsakov.

Beginning in 1896, he entered the Conservatoire's famed Prix de Rome competition every year until he finally won first prize for composition in 1900 with his cantata _Sémiramis_. Along with the prize came a stay at the Villa Medici in Rome.

Of the various pieces composed by Schmitt during his "Prix de Rome period," undoubtedly the most impressive is _Psaume XLVII_, a strikingly original large-scale work scored for large orchestra, organ, soprano and mixed chorus.

Florent Schmitt's music has been characterized in diverse ways: rhapsodic, brooding, sinister, beautiful, sumptuous, magical, mysterious, forceful, stunning, spectacular, thrilling, astouding -all of them highly descriptive terms.

Some of these may seem like surprising adjectives to describe French music. Indeed, in the Parisian musical world of the late 1800s and early 1900s, it was difficult to escape the influence of Debussy.

Anyone who has studied or performed compositions by Florent Schmitt can attest to the music's difficulty. Often the scores contain mixed meter… polyrhythms such as alternated duple and triple division… vertically stacked adjacent tritones and isolated stacked dissonant blocks of harmony… shifting accents… and always, frequently changing time signatures.

The French composer and music critic Pierre Petit, who served for many years as director of l'École normale de musique in Paris, had this to say about Florent Schmitt's music:

​_"From its very first bars, we recognize a work by Schmitt. We cannot connect it with anyone else -nor even with any 'movement' -despite the inevitable resemblences to other contemporary works. He contented himself with giving a new twist and tone to the grammar and syntax of his time. His vocabulary isn't 'new' …but his manner of using it is his alone…"_

Indeed, Schmitt's "orientalist" compositions, written between 1900 and the early 1930s, are among his best-known pieces; they include the blockbuster orchestral works _La Tragédie de Salomé_ (1907/10), _Dionysiaques_ (1913/14, for concert band), _Antoine et Cléopâtre_ (1920), _Salammbô_ (1925) and _Oriane et le Prince d'amour_ (1933), as well as the monumental _Psalm XLVII_ (1904) for soprano, chorus, organ and orchestra.

But Schmitt also wrote in a more intimate style, including many chamber works plus vast swaths of piano music written for solo and duo-pianists.

Florent Schmitt continued to compose until the very end of his long life (138 opus numbers), with his last large-scale work, the _Symphony #2_, premiered by conductor Charles Munch and the French National Radio Orchestra at the Strasbourg Festival just a few months before his death in 1958.

At the time of Schmitt's passing, the French composer Henri Dutilleux wrote a memorable epitaph in honor of his older compatriot:

​_"Florent Schmitt was the last of that great family to which Ravel, Dukas, and Roussel belonged. He remains one of them who, by a happy assimilation of German and Central European influences, recalled the French school to certain notions of grandeur."_

Long relegated to the "musical purgatory" that so many composers from the early 20th century faced during the "atonal era," in more recent years Schmitt's music has experienced a renaissance, with many important conductors of today bringing his orchestral music to an admiring musical public: Leon Botstein, Lionel Bringuier, Sylvain Cambreling, Stéphane Denève, JoAnn Falletta, Vladimir Fedoseyev, Fabien Gabel, Jacques Mercier, Yannick Nézet-Séguin, Leonard Slatkin, Jeffrey Tate, Jean-Luc Tingaud and Yan-Pascal Tortelier, to name just some.

Likewise, there are many more solo instrumentalists and chamber groups programming more of Schmitt's music in the concert hall and on recordings.

For classical music afficianados -particularly those who love French music of the late romantic/early modern idiom (Debussy, Ibert, Poulenc, Ravel, Roussel, etc.) -the "perilously seductive" music of Florent Schmitt is a major discovery.

​―_FlorentSchmitt.com_ (more or less)

_A few more notes about Schmitt_:

*Piano repertoire (solo).* Florent Schmitt has some 180 solo piano pieces in his ouevre, most of which I can say are highly innovative and fine works. _Crépuscules_, _Ombres_, _Mirages_.

*Piano repertoire (chamber + orchestral).* His _Piano Quintet_ is an acquired taste -I don't believe it to be Florent's best by any means -but still considered one of Schmitt main works. _Sonate libre_ for violin and piano -a personal favorite. _Hasards_ -interesting, worth a listen. His _Suite for Flute and Piano_ and _Suite for Trumpet and Piano_ are truly challenging works but amazing to hear if you can find a decent performance. Here is a recording of the latter suite: _



_ (there also exist versions for flute and orchestra and trumpet and orchestra, respectively).

_Medtnaculus_ and _Bartje Bartmans_ are two great YouTube channels for uncovering some of Schmitt's wealth. In Medtnaculus's words, his _Symphonie Concertante_ for piano and orchestra is "probably one of [his]... favourite concertos. There seems to be a hint of Scriabin in the writing for the piano which works very well, especially when mixed with the returning ostinatos throughout."

*Chamber music.* All of Florent Schmitt's chamber music is pretty obscure, as only about 1/3 of his music has been recorded. Since this is getting pretty long, I'll just list a few gems which I like/love. _Saxophone Quartet_, _String Trio_, _Flute Quartet_, _String Quartet_, _Clarinet Quartet_, etc.

*Vocal music.* Schmitt composed in virtually every genre of vocal music, except for opera. I am really unfamiliar with this corner of his repertoire, so I'll leave this area open for your exploration. 

If you care to know anything about me, Florent Schmitt is my favorite composer and... well, it's just a crime to not have his music more well-known. Any thoughts, comments, and questions about him are welcome. I hope this helps to make Schmitt less obscure, even if this is just a little baby step forward...


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## Bettina

Welcome to TC. Thanks for your informative post about Schmitt. Are you a professional writer/musicologist? Your post is extremely well-written and erudite!

FYI, we do already have a guestbook thread about Schmitt: http://www.talkclassical.com/9682-florent-schmitt.html Maybe the mods can merge your post into that thread...I'm not really sure how that works...


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## Portamento

Crap, I didn't see the other post! Well, there goes a good hour of writing....

Thanks for the welcome. No, I'm not a professional writer _or_ a musicologist, but I spend a lot of my free time writing and listening to classical music. I'm actually a painter, funny or not!


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## Pugg

Portamento said:


> Crap, I didn't see the other post! Well, there goes a good hour of writing....
> 
> Thanks for the welcome. No, I'm not a professional writer _or_ a musicologist, but I spend a lot of my free time writing and listening to classical music. I'm actually a painter, funny or not!


From me also a very warm welcome to Talk Classical .
You can ask the mods to combine the threads .


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## Portamento

O.K., thanks for the welcome and advice!


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## Five and Dime

Hi Portamento!

I listened to my collection of Florent Schmitt at the start of the year (see above), and I came to two conclusions:
1) I decided I really liked the Symphonie concertante for Orchestra and Piano, Op. 82
2) I thought the Piano Quintet Op. 51 was a little too thick for my tastes

So it was interesting to read similar sentiments expressed in your very informative notes above!

So many composers, so little time. But I would like to broaden my collection of Schmitt's music a bit each time I revisit his music. 

Do you have any thoughts about what I should listen to next? What are your favorite works and/or albums?

PS - Your website is amazing!!


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## Portamento

Five and Dime said:


> Hi Portamento!
> 
> I listened to my collection of Florent Schmitt at the start of the year (see above), and I came to two conclusions:
> 1) I decided I really liked the Symphonie concertante for Orchestra and Piano, Op. 82
> 2) I thought the Piano Quintet Op. 51 was a little too thick for my tastes
> 
> So it was interesting to read similar sentiments expressed in your very informative notes above!
> 
> So many composers, so little time. But I would like to broaden my collection of Schmitt's music a bit each time I revisit his music.
> 
> Do you have any thoughts about what I should listen to next? What are your favorite works and/or albums?
> 
> PS - Your website is amazing!!


Hey Five and Dime,
I'm glad you liked my post; I spent way too long on that!

As far as new music goes, you can give his symphonies a shot. He only wrote two of them and the 2nd was the last work he wrote. While some composers run out of ideas in their old age, an 88-year-old Schmitt still has some tricks up his sleeves. This Marco Polo is the only CD to carry this work: _http://www.allmusic.com/album/release/florent-schmitt-orchestral-works-mr0002714265_.

This 1959 CD contains Schmitt's _Hasards_, Op. 96, a wonderful showcase of his chamber music style. Other favorites of mine include his other major works for strings. He wrote three: the Piano Quintet, Op. 51, String Trio, Op. 105, and String Quartet, Op. 112. The latter two are in Schmitt's distinctive later style that I find to be much more enjoyable than the earlier Piano Quintet. Unfortunately, I can't find a CD that they are on.... There is a mediocre recording of the String Quartet, however, by an unknown ensemble on YouTube.

Finally, this CD by Larderet is hands-down the best recording of Schmitt's piano works: _http://www.naxos.com/catalogue/item.asp?item_code=8.572194_

Anyways, I gotta go! Keep listening to Florent Schmitt,
Portamento


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## Five and Dime

Thanks very much. I'll pick up that piano disc right away and maybe sample a few other Schmitt discs.

Regards,


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## Medtnaculus

There's a disk I've recently taken to with Schmitt's works for female voices on the Timpani label. I'd recommend it to everyone.


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## Portamento

Medtnaculus said:


> There's a disk I've recently taken to with Schmitt's works for female voices on the Timpani label. I'd recommend it to everyone.


Thanks, I'll pick it up right away! Been on the lookout for some of Schmitt's vocal work. What do you think of the quality of the compositions?


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## Pugg

Medtnaculus said:


> There's a disk I've recently taken to with Schmitt's works for female voices on the Timpani label. I'd recommend it to everyone.


Do you mean this one?

http://www.prestoclassical.co.uk/r/Timpani/1C1218


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## Ralphus

Schmitt is very well known to classical saxophonists for his Saxophone Quartet, _Legende_ for Saxophone & Orchestra (Piano), and _Songe de Coppelius_ for tenor sax & piano. All are good works. The _Legende_, like the Caplet _Legende_, _Choral varie_ by d'Indy, and Debussy _Rapsodie_ was written for the wealthy American amateur saxophonist, Elisa Hall and has an exotic flavor. The quartet is contrapuntal and serious-minded. Here are some excellent performances of the three works:


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## ahinton

To me, Schmitt's Piano Quintet is one of the greatest in the repertoire for that ensemble; I wonder if the lack of enthusiasm that it appears to attract even from some devotees of the composer might be down to the fact that it seems yet to have receive a truly satisfactory performance. The pianist Marc-André Hamelin, who shares my view of the work, has played it with at least two quartets each of which, to my mind, let the performance down (one of them especially); put him with an ensemble like the French Quatuor Diotima and I think that the result would be sufficiently stunning to silence all doubters.


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## christomacin

I like Schmitt. He wrote some good stuff:


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## MusicSybarite

ahinton said:


> To me, Schmitt's Piano Quintet is one of the greatest in the repertoire for that ensemble; I wonder if the lack of enthusiasm that it appears to attract even from some devotees of the composer might be down to the fact that it seems yet to have receive a truly satisfactory performance. The pianist Marc-André Hamelin, who shares my view of the work, has played it with at least two quartets each of which, to my mind, let the performance down (one of them especially); put him with an ensemble like the French Quatuor Diotima and I think that the result would be sufficiently stunning to silence all doubters.


Today I listened to it for the first time... thoroughly wonderful, a very important find. Thrilling works like this one gives me goosebumps galore. I loved it!


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## HerbertNorman

On saturday I am going to a performance of Schmitt's Antoine et Cléopatre along with Ravel's La Valse. Anybody ever seen this piece?


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## MusicSybarite

HerbertNorman said:


> On saturday I am going to a performance of Schmitt's Antoine et Cléopatre along with Ravel's La Valse. Anybody ever seen this piece?


I'm jealous! _Antoine et Cléopâtre_ must be a real treat to hear live. It's thrilling, sensuous, epic and exotic music, all masterfully blended. I hope you enjoy it because it's a real rarity to attend a concert with such great work like that.


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## HerbertNorman

MusicSybarite said:


> I'm jealous! _Antoine et Cléopâtre_ must be a real treat to hear live. It's thrilling, sensuous, epic and exotic music, all masterfully blended. I hope you enjoy it because it's a real rarity to attend a concert with such great work like that.


It definitely was thrilling! I enjoyed the Ravel too , first live concert I have seen of these pieces...really worth the money!


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