Romantic
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20th century
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Pierné Gabriel
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
Canzonetta, Op. 19
Gabriel Pierné: Canzonetta, Op. 19 for flute and piano was written in 1888. Originally for clarinet and piano. The piece is dedicated to Charles Turban, a renowned French clarinetist and professor at the Paris Conservatoire. The clarinet version premiered in 1888 in Paris. The flute adaptation followed shortly after, gaining popularity as a salon piece and a teaching tool at the Paris Conservatoire.
The Canzonetta is a definitive example of the Belle Époque "Fin de siècle" style. The title implies a "little song," and the music reflects this through its lyrical, Italianate melody. It demands a high level of tone control and "French style" elegance: seamless phrasing and a light, shimmering vibrato.
In 1888, Pierné was 25 and just returned to Paris from Italy, where he had gone after winning the prestigious Prix de Rome in 1882. Upon his return, he was active as an assistant to his teacher, César Franck, at the Basilica of Saint Clotilde. Following Franck's death in 1890, Pierné would eventually take over the position of organist.
While he was primarily known as a composer and organist in 1888, this was the period when he began the groundwork for his legendary conducting career with the Concerts Colonne.
That same year, he was working on his opera Vendée and several chamber works that displayed his gift for "Massenet-like" melodic charm combined with Franckian harmonic sophistication.
Gabriel Pierné (1863–1937) was a distinguished French composer, conductor, and organist of the late Romantic and early modern eras. He was a versatile and prolific musician who achieved considerable success in several musical fields during his lifetime.
Born in Metz, France, Pierné entered the prestigious Conservatoire de Paris at age ten, where he excelled as a student. He studied piano with Antoine Marmontel, organ with César Franck, and composition with Jules Massenet.
He was a brilliant student, winning the Premier Prix for piano, organ, counterpoint, and fugue, and, in 1882, the coveted Grand Prix de Rome for his cantata Edith.
In the following years Pierné balanced his time between composing, conducting, and performing. As an organist he succeeded his former teacher, César Franck, as the organist at the prominent Parisian basilica of Sainte-Clotilde in 1890, a post he held for many years.
He had a highly successful conducting career, notably as the director of the Concerts Colonne orchestra from 1910 until his death. In this role, he premiered important contemporary works, including Igor Stravinsky's Firebird Suite.
His compositions are known for their elegance, refinement, and meticulous craftsmanship, blending the contrapuntal rigor of Franck with the melodic grace of Massenet and the orchestral colors of Impressionism. He composed in many genres, including operas, ballets (Cydalise et le Chèvre-pied), orchestral works, and chamber music.