Romantic
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Hahn Reynaldo
Akimenko, Theodore
Albeniz, Isaac
Andersen, Joachim
Barnett, John Francis
Bazzini, Antonio
Beach, Amy
Bellini, Vincenzo
Bizet, George
Blahetka, Leopoldine
Blodek, Wilhelm
Boehm, Theobald
Bonis, Mel
Borne, François
Brahms, Johannes
Briccialdi, Giulio
Bruch, Max
Caplet, André
Chaminade, Cécile
Chopin, Frédéric
Danzi, Franz Ignaz
Debussy, Claude
Demersseman, Jules-Auguste Edouard
Donizetti, Gaetano
Donjon, Johannes
Doppler, Albert Franz
Du Puy, Édouard
Dvořák, Antonin
Elgar, Edward
Fauré, Gabriel
Foote, Arthur
Franck, César
Frühling, Carl
Fürstenau, Anton Bernhard
Gade, Niels Wilhelm
Ganne, Louis
Génin, Paul Agricole
German, Edward
Glière, Reinhold
Godard, Benjamin
Gounod, Charles
Grandval, Clémence
Hahn, Reynaldo
Hüe, Georges Adolphe
Hummel, Johann Nepomuk
Jadassohn, Solomon
Kohler, Ernesto
Kreisler, Fritz
Kuhlau, Friedrich
Lefebvre, Charles Edouard
Liszt, Franz
Maier, Amanda
Massenet, Jules
Mendelssohn, Fanny
Mendelssohn, Felix
Mercadante, Saverio
Meyer-Olbersleben, Max
Molique, Wilhelm Bernhard
Morlacchi, Pietro
Mouquet, Jules
Nielsen, Carl
Paganini, Niccolo
Périlhou, Albert
Pierné, Gabriel
Popp, Wilhelm
Rabboni, Giuseppe
Reger, Max
Reichert, Matthieu Andre
Reinecke, Carl Heinrich Carsten
Ries, Ferdinand
Rietz, Julius
Rossini, Gioacchino
Saint-Saëns, Camille
Sarasate, Pablo de
Schubert, Franz
Schumann, Clara
Schumann, Robert
Sibelius, Jean
Silcher, Friedrich
Strauss, Richard
Taffanel, Claude Paul
Tulou, Jean-Louis
Vitali, Tomaso Antonio
Wagner, Siegfried
Widor, Charles Marie Jean Albert
"Chansons grises": No. 5. L'heure exquise
Reynaldo Hahn: "Chansons grises": No. 5. L'heure exquise for flute and piano was written in 1890, originally as the fifth song in his famous vocal cycle "Chansons grises" (Grey Songs). The piece was inspired by the poems of Paul Verlaine.
In the context of 19th-century French Symbolism, "grey" does not merely refer to a color but to a state of mind and a musical quality. Verlaine famously championed the "art poétique" where nuance is preferred over color, specifically the "grey song" (la chanson grise) where the "Indecisive joins the Precise".
Even though the cycle was dedicated to Verlaine's friend, Charles de Sivry, the song "L'heure exquise" (The Exquisite Hour) is dedicated to Madame Jane Courthion. The cycle was first performed privately in the salon of Alphonse Daudet in 1891, with Hahn singing and playing the piano. The legendary soprano Sybil Sanderson was also among the first to champion the piece in Parisian salons.
The year 1890 was a pivotal "prodigy year" for the young Reynaldo Hahn, who was 16 years old and considered a "genius" pupil" by Jules Massenet at the Paris Conservatoire. The "flute-like" clarity of the accompaniment in L'heure exquise is often cited as a direct influence of Massenet's transparent orchestration style.
Hahn actually met the poet Paul Verlaine in 1890. According to Hahn’s own journals and biographical accounts by Gavoty, Verlaine heard the young Hahn play these settings of his poems and was moved to tears. This encounter solidified Hahn's position as the primary musical interpreter of the "Symbolist" movement in poetry.
Reynaldo Hahn (1874–1947) was a Venezuelan-born French composer, conductor, and critic who epitomized the elegance of the Parisian Belle Époque.
Born in Caracas, Venezuela, in a family of wealthy German-Jewish businessman. His family moved to Paris when Reynaldo was only three years old. A true child prodigy, Hahn entered the Paris Conservatoire at age ten, where he studied under titans of French music, including Jules Massenet (composition), Charles Gounod, and Camille Saint-Saëns.
By age thirteen, he wrote the song "Si mes vers avaient des ailes," which became an international sensation and remains one of his most famous works.
Hahn became a fixture in the elite Parisian salons, where he would sing his own works while accompanying himself at the piano, often with a cigarette dangling from his lips. In 1894, Hahn met the writer Marcel Proust. The two shared a profound romantic and intellectual relationship that deeply influenced both their careers. Despite the rise of radical modernism (Stravinsky, Schoenberg), Hahn remained a staunch defender of clarity, melody, and restraint, values he maintained throughout his life.
Although a naturalized citizen and a prominent artist, Hahn insisted on serving at the front during World War I, an experience that deeply affected his later outlook. He gained fame as a conductor, particularly of Mozart, and was appointed director of the Paris Opéra after World War II, helping to revitalize the institution after the Nazi occupation.
His music is characterized by a "discreet and refined sensuality," marked by fluid melodic lines and a sophisticated, though never overbearing, harmonic palette.