Florent Schmitt ‒ Crépuscules, Op. 56

Florent Schmitt (1870-1958), Crépuscules, Op. 56 (1898 - 1911)
Performed by Kenan Henderson live recording at Pilgrim Church (2013)
00:00 - No. 1 Sur un vieux petit cimetiere
06:28 - No. 2 Neige
09:33 - No. 3 Sylphides
11:56 - No. 4 Solitude
Florent Schmitt’s highly personal language is characterised by warm melodic inspiration, subtle, sensual harmony and great rhythmic richness. Although some of his works, especially for piano, are clearly Impressionistic, as Roussel points out, we find ‘none of that sentimentality or those excessive refinements that could sometimes be reproached in national school’. And he goes on to add: ‘Although he complacently listened to the seductive strains of Debussy, although he tasted, like all his contemporaries, the exquisite and profound voluptuousness, he retained only an important lesson of independence from them’. A highly prolific composer, his catalogue includes 138 opus numbers in absolutely all genres, with the notable exclusion of opera. As for Florent Schmitt’s personality, it proved to be particularly Protean and constantly renewed itself. His inspiration alternates between the two extremes of the tragic and comic.
In 1913, Crépuscules (‘Twilights’), Op. 56 was published in London. Made up of four pieces, of which a first version dates back to between 1898 and 1902, this remarkable collection is, unfortunately, almost totally unknown, and it is now almost only at the Bibliothèque Nationale in Paris that the score can be consulted.
Like Ravel in Le Gibet or La Vallée des cloches, Sur un vieux petit cimetière (‘On an old, small cemetery’) is shot through from beginning to end by a motif of syncopated notes played one by one and marked ‘like distant bells’. The main theme, a magnificent modal melody, gentle and peaceful, slowly emerges from an astonishing halo of sound, before being developed in a climate that gradually becomes excited and then impassioned. Next, after a suspension over a long resonance, the coda reprises the theme in the calm of the beginning but with new and quite ingenious harmonisations.
Neige (‘Snow’) takes its inspiration from the Ballade de la neige Op. 6, written a few years earlier - and much less successfully - in the same key of G sharp minor. The admirably poetic but melancholy and desolate theme is accompanied - somewhat in the manner of Schumann - by a simple arpeggio in semiquavers, sometimes falling, sometimes rising.
Sylphides is a very brilliant scherzo with harmonies that are highly reminiscent of Fauré (the Fauré of the last period) and gives the cycle bright, luminous new colours.
The set concludes with Solitude, which remarkably translates into music this quotation by Léon Paul Fargue: ‘But what one loves always ends up deciding to leave you... One is alone. One is always alone. The goal of everything is solitude...’ Here, Florent Schmitt uses a very interesting procedure, which is frequently found in his works for piano and orchestra and consists of doubling a melody in unison at a two-octave interval. After a final, vain appearance of the theme with its evocation of past happiness, the music falls back into this disenchanted, overwhelming solitude, summed up by a long C sharp tenuto on which the piece ends.

[@edwilliams9914]

Thanks for uploading so much Schmitt. Listening to 20th cent French piano music for 40+ years and had never heard of him at all, which is a shame! I certainly don't have the academic credentials to say why it is not so, but my *ears* say he certainly does deserve a place (at very least as much floor space as Satie indeed deserves) in the Debussy/Ravel/Faure/ shrine. Schmitt simply shouldn't be missed and I'll certainly look to your channel in the future for other works and composers that I have neglected. And the notes (don't know if those are your words or pulled from CD liner notes) are always a great addition.

[@kniazigor2276]

The incomparable refinement of French music. What do you expect, pianists, to put the works of this magnificent composer to your programs? Thanks to Medtnaculus for sharing.

[@ThomasLittleComposer]

Schmitt's pieces have such wonderful character ... and the scores are often just gorgeous creations in and of themselves. I can't thank you enough for these uploads!

[@Medtnaculuss]

+Thomas Little I absolutely agree. The first time I looked up the score to Ombres I was blown away. In fact I just stumbled upon another composer with similarly beautiful and intricate scores which I'll try to get up over the next few days. You're very welcome, and if you ever find similar composers who need more attention feel free to fire them my way!

[@Medtnaculuss]

+Thomas Little Actually, I'm going to start on one of his works now and see if I can upload it tonight. Turns out its from the same Publisher so thats why it looks so awesome.

[@Medtnaculuss]

+toothless toe I had two piano sonatas lined up and half ready. Might do his Poeme Roumain, 2 Romanian Rhapsodies, and first Suite later if I have time. Any other suggestions? I haven't listened to much of him other than those listed.

[@deodatdechampignac]

similar composers ex France : Samazeuilh; Decaux; Aubert; Mariotte; Delage.....

[@Medtnaculuss]

Got some works by Mariotte being prepared for upload (Kakemonos), though I'm struggling to find enough recordings of his works outside the Timpani label. Decaux is one of my favourites too (olla-vogala has Clairs de Lune on his channel), but Delage and Samazeuih are new to me. Got some listening to do! Thanks for sharing those names!

[@PianoRus]

great find!

[@Danzig987]

More information about this music, plus an interview with pianist Kenan Henderson, can be found here: florentschmitt.com/2013/10/27/florent-schmitts-crepuscules-1898-1911-richly-evocative-tone-painting-in-the-french-pianistic-tradition/

[@borbalbuddy]

Honestly, Sylphides reminds me very much of Ravel's Noctuelles. Considering the composition of this set overlaps with Miroirs, I wonder if there was any influence in either direction between the composers.

[@Danzig987]

Absolutely. Kenan Henderson, the pianist in this performance, speaks to the "cross-pollination" between Ravel and Schmitt in this interview article: florentschmitt.com/2013/10/27/florent-schmitts-crepuscules-1898-1911-richly-evocative-tone-painting-in-the-french-pianistic-tradition/

[@44seann]

sylphides sauve loeuvre de sa torpeur nonchalante !!!!

[@TheF36rent]

first

[@TheF36rent]

me too

[@TheF36rent]

i do

[@AsrielKujo]

Rip u are so lonely u comment on ur own comment...
Oh shit i do it too....

[@nandocordeiro5853]

Fifth (or third?)

[@ilikeplayingffftonecluster851]

@@AsrielKujo lol He was probably replying to someone who deleted their comments/channel later.