20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Hahn Reynaldo
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
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"À Chloris" for flute and piano
"À Chloris" for flute and piano
Reynaldo Hahn: "À Chloris" for flute and piano was written in 1913, originally as a Mélodie for voice and piano. The song was dedicated to Marie Nordlinger, a cousin of Reynaldo Hahn's close friend (and former lover) Marcel Proust. Nordlinger was an artist and a significant figure in Hahn’s social and intellectual circle.
The title "À Chloris" (To Chloris) draws from the pastoral tradition of 17th-century French poetry and Greek mythology.
In Greek mythology, Chloris was a nymph associated with spring, flowers, and new growth. She was famously abducted by Zephyrus (the West Wind), who later married her and transformed her into Flora, the goddess of flowers. During the Renaissance and Baroque eras, names like "Chloris" and "Phyllis" became generic archetypes for the idealized shepherdess or nymph in pastoral literature.
Hahn’s song is a setting of a poem by Théophile de Viau (1590–1626). The speaker addresses Chloris, declaring that if her love is true, not even the happiness of kings or the promise of "heavenly bliss" could match his current fortune.
Around 1913, Hahn was the quintessential composer of the Parisian salons. He was at the height of his social influence, moving in circles with Proust, Sarah Bernhardt, and the French aristocracy. While the rest of Paris was reeling from the "scandal" of Stravinsky’s Rite of Spring (premiered in May 1913), Hahn moved in the opposite direction. He felt alienated by the aggressive modernism of the era. "À Chloris" was his intentional retreat into the Baroque past. The piano accompaniment is a direct homage to the "Air on the G String" style, featuring a walking bassline and steady sixteenth-note figures. This "neo-Baroque" approach was Hahn’s way of asserting that beauty and tonality were still valid in a rapidly changing world.
In French, the preposition "À" (meaning "To") is pronounced similarly to the English exclamation "Ah!". Despite the "Ah!" label in some commercial listings, scholarly and doctoral sources consistently refer to the work by its original French title, "À Chloris".
Hahn Reynaldo
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.