#Paul Taffanel

[lesser-known-composers]

Paul Taffanel (1844-1908) : Quintett g-Moll für Flöte, Oboe, Klarinette, Fagott und Horn (1878)

00:00 I. Allegro con moto 10:03 II. Andante 16:01 III. Vivace

Ronja Macholdt (Querflöte), Jesús Pinillos Rivera (Oboe), Jonathan Groß (Klarinette), Berat Efe Sivritepe (Horn), Hana Hasegawa (Fagott)

[onenakedfarmer]

Currently Playing

Les Vents Français FRENCH MUSIC FOR WINDS & 20TH CENTURY WIND QUINTETS

Emmanuel Pahud, Paul Meyer, Francois Leleux, Gilbert Audin, Radovan Vlatkovic

Jacques Ibert - Pièces brèves for Wind Quintet

Maurice Ravel - Le Tombeau de Couperin

André Jolivet - Sonatina for Oboe and Bassoon

Darius Milhaud - La Cheminée du roi René, Op 205

Paul Taffanel - Wind Quintet

György Ligeti - Six Bagatelles for Wind Quintet

Alexander von Zemlinsky – Humoreske - Schulstück für Bläserquintett

Samuel Barber - Summer Music, Op. 31

Sándor Veress - Sonatina for Oboe, Clarinet, and Bassoon

Paul Hindemith - Kleine Kammermusik for Wind Quintet, Op. 24 No. 2

[edithhaimbergernotebook]

Finding Peace Amid War at Berlin's Barenboim-Said Music Academy

AKADEMIEKONZERT (ACADEMY CONCERT) Wednesday, May 15, 2024 Pierre Boulez Saal

May 15th is Nakba Day.

It is a sad, heavy anniversary for Palestinians. It is a reminder of the refugees who fled and those who were killed during the Arab-Israeli War in the 1940s.

The refugees and their descendants partly remain in refugee camps like Jenin in the West Bank (opened 1953), Shatila in Lebanon (1949), and Yarmouk in Syria (1957).

Likely by coincidence, this year a music academy that unites pupils from Middle Eastern and North African countries, was offering a concert on May 15th in the middle of Berlin.

It was a peaceful way to spend the day, signalling support for pluralism and dialogue as avenues to resolve the conflict.

*

The Barenboim-Said Academy, named after the pianist and the philosopher, is tucked behind the State Opera Unter den Linden.

In the Academy building, an intimate concert hall named in honour of the French composer Pierre Boulez (boo-LEZ) hosts classical music, jazz, and other concerts.

(For this student concert, tickets were affordably priced at 10€.)

The concert began with a classic. Both literally – due to the musical period in which Mozart composed – and figuratively.

*

Wolfgang Amadeus Mozart (1756-1791) Sonata for two pianos in D major KV 448 (1781) I. Allegro con spirito II. Andante III. Molto allegro

*

Image: Audience members waiting for Mozart. Photo taken by me (Edith Haimberger). May 15, 2024. All rights reserved.

After the Mozart came Igor Stravinsky.

If the audience's busy fidgeting during his music was any evidence, the Russian composer is still controversial over 100 years after he premiered the Rite of Spring.

Image: Audience members waiting for Stravinsky. Photo taken by me. May 15, 2024. All rights reserved.

*

Igor Stravinsky (1882-1971) Histoire du soldat Suite for Violin, Clarinet and Piano (1918-19) I. Marche du soldat II. Le Violon du soldat III. Petit concert IV. Tango-Valse-Ragtime V. Danse du diable

*

A much longer, alternative performance with narration, which is true to Stravinsky's elaborate concept, is also on YouTube here.

At the end, students played the flute, oboe, clarinet, French horn and bassoon, in a quintet that gave each their moment in the spotlight.

The oboist had been 'borrowed' from the Hochschule für Musik Hanns Eisler, another music academy in Berlin.

In contrast to Stravinsky, Paul Taffanel seemed like a conservative composer. The audience was at times nearly completely quiet, the mood relaxed.

*

Paul Taffanel (1844-1908) Woodwind Quintet in g minor (1876) I. Allegro con moto II. Andante III. Vivace

*

After the concert, walking from the Barenboim-Said Academy toward Unter den Linden and its tourist frenzy. Photo taken by me. May 15, 2024. All rights reserved.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"I deeply believe that people of different languages, cultures, and politics can ultimately speak to each other through the arts." – Frank Gehry (Canadian-American designer of the Pierre Boulez Saal)

(Quotation taken from the concert ticket)

[bumblebeeappletree]

The process of foraging and producing natural dyes

Music:

Paul Taffanel - Andante Pastoral

Otar Taktakishvili - Sonata for Flute and Piano I, II

Flute: Wilma Sijbrandij

Piano: Alie Hamberg

https://www.instagram.com/detlillespi...

[cherryonigiri]

nebula & meteor!

send me asks from this list!

Nebula: put your itunes on shuffle, give me the first 5 songs that pop up

Serenity (O Magnum Mysterium) - Ola Gjeilo ft. Tenebrae, Matthew Sharp and Kristiann Kvalvaag 

The Truth Untold - BTS ft. Steve Aoki

Overjoyed - Bastille

bury a friend - Billie Eilish

Waking Up Arnold - Tales of the Forgotten 

Meteor: do you have a favorite historical figure?

Marcel Moyse - he was one of the last pupils of Paul Taffanel (one of the founders of the French Flute School + who established modern standards of tone/vibrato/style for flute playing). Fun fact - he’s technically my musical great-grandfather because he taught Carol Wicnenc who taught my professor. 

[briefninjastudent]

A beautiful interpretation and arrangement by Mauro Scappini of Saint-Saens’s Romance, Op.37, for flute and orchestra (or piano) of 1871 (the manuscript is dated March 25 of that year). The first performance was given by the incomparable Paul Taffanel (1844-1908), founder of the French School of Flute Playing.

[todayclassical]

September 16 in Music History

1557 Birth of composer Jacques Mauduit.

1770 FP of Haydn: "Le Pescatrici" Esterháza.

1782 Death of Italian castrato Farinelli in Bologna.

1800 Birth of composer Jozef Nowakowski.

1800 FP of Francoise Boieldieu's opera The Caliph of Bagdad in Paris.

1844 Birth of French flutist and conductor Claude Paul Taffanel in Bordeaux. 

1847 Birth of composer Albert Ross Parsons.

1849 Birth of German violist and composer Hermann Ritter in Wismar. 

1887 Birth of French music composition teacher Nadia Boulanger in Paris. 

1891 Birth of Polish composer Czeslaw Marek in Przemysl. 

1895 Birth of Polish-German composer Karol Rathaus in Tarnopol. 

1896 Death of Brazilian composer Antonio Carlos Gomes in Belém. 

1899 Birth of Hungarian conductor Hans Swarowsky in Budapest.

1903 Birth of composer Richard Hall.

1908 Birth of Austrian-American soprano Hertha Glaz in Vienna. 

1919 Birth of composer Milan Harasta.

1919 Birth of composer Sven-Erik Bäck.

1920 Enrico Caruso made his last recording for Victor Records in Camden, NJ.

1921 Birth of composer Fritz Geißler.

1925 Birth of American guitarist Charlie Byrd. 

1925 Death of Austrian composer Leo Fall. 

1925 FP in Broadway of Vincent Youmans musical comedy No No Nanette, in NYC. 

1936 Birth of Italian conductor Piero Gamba in Rome.

1941 Birth of English educator Ian Horsburgh.

1942 Birth of American electroacoustic composer Canary Burton in Moscow, Idaho.

1945 Birth of Japanese composer Nagako Konish in Agematsu.

1949 Birth of American composer Wayne Peppercorn in Cincinnati, OH.

1952 Birth of American composer Joseph Waters in Jackson, MI.

1958 Birth of American composer Gregg Wager in Adrian, MI.

1959 FP of Rota: "Lo scoiattolo in gamba" Venice (1959).

1965 FP of sacred music composed by Duke Ellington at Grace Cathedral in San Francisco, CA.

1966 Opening of new MET Opera House with FP of Samuel Barber's Anthony and Cleopatra with Leontyne Price in NYC.

1976 Birth of Elīna Garanča a Latvian operatic mezzo-soprano.

1977 Death of soprano Maria Callas in Paris.

1980 Louise M. Davies Symphony Hall officially opened in San Francisco.

1995 FP of Harrison Birtwistle's Panic for alto sax, drummer, and orchestra, at the final concert of the Centenary Proms with the BBC Symphony conducted by Andrew Davis, with John Harle,sax and Oauk Clarvis, drums; at Royal Albert Hall in London.

1999 FP of Libby Larsen's Solo Symphony by the Colorado Symphony, Marin Alsop conducting.

2002 Greece honors the memory of the New York-born opera diva Maria Callas with a series of concerts and exhibitions marking the 25th anniversary of her death.

[lesser-known-composers]

Paul Taffanel (1844-1908) : Quintett g-Moll für Flöte, Oboe, Klarinette, Fagott und Horn (1878)

00:00 I. Allegro con moto 10:03 II. Andante 16:01 III. Vivace

Ronja Macholdt (Querflöte), Jesús Pinillos Rivera (Oboe), Jonathan Groß (Klarinette), Berat Efe Sivritepe (Horn), Hana Hasegawa (Fagott)

[tribuna-de-porto-alegre]

OSPA Live destaca repertório com Radamés Gnattali e Claude-Paul Taffanel

OSPA Live destaca repertório com Radamés Gnattali e Claude-Paul Taffanel

A OSPA (Orquestra Sinfônica de Porto Alegre) completa pouco mais de três meses de apresentações online e chega à 15ª edição do OSPA Live com música, cultura e adaptações durante a pandemia do novo coronavírus. Neste sábado (8), às 17h, os músicos sobem ao palco com Suíte para Quinteto de sopros, do compositor gaúcho Radamés Gnattali (1906-1988) – que alia elementos folclóricos e populares à…

[atsoukalidis]

Great music by Paul Taffanel - Wind Quintet in g minor, Vivace

[chikyvania]

“Quinteto en sol menor” - Paul Taffanel #Quintetodevientosusach 🎶🎺🎷✨💖 (en La Unión, Chile) https://www.instagram.com/p/B74VH58pEoUN4ojRs073XLmVwHWYy37wBoEUYA0/?igshid=12dmp4n8ma29t

[musicksu]

Review: ASO’s Todd Skitch, Robert Henry showcase the magical flute in Bailey recital

Originally published by ArtsATL at artsatl.com. Click here to view the original story.

Review: ASO’s Todd Skitch, Robert Henry showcase the magical flute in Bailey recital

Story by Mark Gresham | March 28, 2018

On Monday evening, flutist Todd Skitch performed in a recital of music by Taffanel, C.P.E Bach, Gaubert, Reinecke and Liebermann with Robert Henry as collaborative pianist at Morgan Concert Hall, in Kennesaw State University’s Bailey Performance Center. Skitch, a flutist with the Atlanta Symphony Orchestra, is an artist in residence at the university, and Henry is director of piano studies and assistant professor of music there. The free concert was simultaneously streamed live over the Internet.

It proved a pleasantly enjoyable, emotionally positive concert for what had been an overcast, on-and-off drizzly day that couldn’t make up its mind about which season it was in, hanging on to a vestige of winter misery. But this recital brightened up that mood. Across its compass, Skitch’s playing exhibited a lower register with well-rounded tone that was not hollow, a vibrantly singing middle register and an upper register that was bright and clear but not in the least bit shrill.

Skitch plays a mid-1980s solid silver flute made by renowned American flute-maker Jack Moore. His accomplice for the evening, Robert Henry, has long proven himself a fine collaborative pianist, and demonstrated well his skill at bringing important singing lines in his part to the fore without overshadowing Skitch’s flute.

The mostly sunny repertoire list was like a connoisseur’s menu for flute fans. While the composers represented are overall not in the Who’s Who of names among more general classical music mavens, they are well-recognized hit-makers within the devoted inner circles of classical flutedom; all of the five works on the program are well-established within the core of flute repertoire.

Skitch and Henry opened the program with “Andante Pastoral et Scherzettino” by 19th-century French flutist and composer Paul Taffanel. Taffanel was considered the foremost flutist of his time and is credited with founding the French school of flute playing, which was the dominant influence on composition and performance style for the instrument over much of the 20th century. “Andante Pastoral et Scherzettino” was written in 1907, the year before Taffanel’s death at age 64. He dedicated it to Philippe Gaubert, one of his students and another distinguished French flutist and composer of flute music, whose “Fantaisie” Skitch and Henry would play later to close the recital’s first half.

In between, Skitch returned to the stage alone to play a piece for unaccompanied flute, the Sonata in A minor, H562, by Carl Philipp Emanuel Bach (1714–1788). C.P.E. Bach, one of the many sons of J.S. Bach, is perhaps best known for his vast number of works for keyboard instruments, but he is also a favorite of flutists. His expansive catalog of works includes six extant flute concertos, another 10 lost to history, and 22 flute sonatas, many with “basso continuo” (keyboard and a bass instrument), but this one written for “flauto traverso solo senza basso” — unaccompanied. Unhurried in his performance, Skitch effectively brought out the moments of implied secondary voices in the music.

After a brief intermission, Skitch and Henry opened the second half with the most substantial work on the program, the Sonata for Flute and Piano, Op. 167 (“Sonata Undine”) by Carl Reinecke, a Danish-born 19th-century German composer, conductor and pianist who was a contemporary of Taffanel. Although 20 years older, he outlived the French flutist by a couple of years. Reinecke is best remembered today for composing this sonata, but was overall a highly visible and influential musician and teacher in his day. Among his students were composers Edvard Grieg, Leoš Janáček, Isaac Albéniz and Max Bruch.

Although inspired by the fairy-tale novella Undine by Friedrich de la Motte Fouqué, about a water sprite, Reinecke’s sonata is not programmatic music, but he does capture a water-like character without the heavy deliberateness of tone painting. Skitch and Henry were able to render well that fluid quality in their performance.

For the final work of the evening, Skitch turned to another unaccompanied work, this time by a living composer: Lowell Liebermann’s “Soliloquy for Solo Flute” (1993). Its opening theme imparted an initial feeling of mystery, and its overall character is one of refined lyricism. Liebermann is more of a traditionalist than innovator, but his music is appealing. It seems to also suit Skitch’s playing and temperament very well, with the final note of the work hanging peacefully in the air before dissolving into a calm, contemplative silence.

###

Mark Gresham writes about classical and post-classical music. A composer and conductor as well as a journalist, he co-founded the monthly publication Chorus! in 1989 and edited it through 1995. A selection of his interviews from the magazine was published in 1997 as a book Choral Conversations. He has written for NewMusicBox, Where Atlanta and Creative Loafing, among others. In Gresham 2003 won an ASCAP/Deems Taylor Award for music journalism.

–––––

For information about the KSU School of Music, please visit our website.

[yourjuhyunghan]

Les XX and music Conservatoire de Paris Paul Marie Théodore Vincent d'Indy (French, 1851–1931) Poème des rivages (1919-21) on Kant sublime and Vincent Willem van Gogh (Dutch, 1853–1890)

Les XX and music Conservatoire de Paris Paul Marie Théodore Vincent d'Indy (French, 1851–1931) Poème des rivages (1919-21) on Kant sublime and Vincent Willem van Gogh (Dutch, 1853–1890)

Paul Marie Théodore Vincent d'Indy (French: [vɛ̃sɑ̃ dɛ̃di]; 27 March 1851 – 2 December 1931) was a French composer and teacher.

Vincent d'Indy, ca. 1895 https://en.wikipedia.org/wiki/Vincent_d%27Indy#/media/File:D%27Indi_Vincent_Postcard-1910.jpg

Life[edit]

Paul Marie Théodore Vincent d'Indy was born in Paris into an aristocratic family of royalist and Catholic persuasion. He had piano lessons from an early age from his paternal grandmother, who passed him on to Antoine François Marmontel and Louis Diémer.[1] From the age of 14 he studied harmony with Albert Lavignac. At age 19, during the Franco-Prussian War, he enlisted in the National Guard, but returned to musical life as soon as the hostilities were over. The first of his works he heard performed was a Symphonie italienne, at an orchestral rehearsal under Jules Pasdeloup; the work was admired by Georges Bizet and Jules Massenet, with whom he had already become acquainted.[1] On the advice of Henri Duparc, he became a devoted student of César Franck at the Conservatoire de Paris. As a follower of Franck, d'Indy came to admire what he considered the standards of German symphonism.

Vincent d'Indy, sculpture by Antoine Bourdelle In the summer of 1873 he visited Germany, where he met Franz Liszt and Johannes Brahms.[1] On 25 January 1874 his overture Les Piccolomini was performed at a Pasdeloup concert, sandwiched between works by Bach and Beethoven.[1] Around this time he married Isabelle de Pampelonne, one of his cousins. In 1875 his symphony dedicated to János Hunyadi was performed. That same year he played a minor role – the prompter – at the premiere of Bizet's opera Carmen.[1] In 1876 he was present at the first production of Richard Wagner's Ring Cycle at Bayreuth. This made a great impression on him and he became a fervent Wagnerite. In 1878 d'Indy's symphonic ballad La Forêt enchantée was performed. In 1882 he heard Wagner's Parsifal. In 1883 his choral work Le Chant de la cloche appeared. In 1884 his symphonic poem Saugefleurie was premiered. His piano suite ("symphonic poem for piano") called Poème des montagnes came from around this time. In 1887 appeared his Suite in D for trumpet, 2 flutes and string quartet. That same year he was involved in Lamoureux's production of Wagner's Lohengrin as choirmaster. His music drama Fervaal occupied him between 1889 and 1895.

Inspired by his own studies with Franck and dissatisfied with the standard of teaching at the Conservatoire de Paris, d'Indy, together with Charles Bordes and Alexandre Guilmant, founded the Schola Cantorum de Paris in 1894. D'Indy taught there and later at the Paris Conservatoire until his death. Among his many students were Isaac Albéniz, Leo Arnaud, Joseph Canteloube (who later wrote d'Indy's biography), Pierre Capdevielle, Jean Daetwyler, Arthur Honegger, Eugène Lapierre, Leevi Madetoja, Albéric Magnard, Rodolphe Mathieu, Darius Milhaud, Helena Munktell, Cole Porter, Albert Roussel, Erik Satie, Georges-Émile Tanguay, Otto Albert Tichý, Emiliana de Zubeldia and Xian Xinghai, Ahmet Adnan Saygun. Xian was one of the earliest Chinese composers of western classical music See: List of music students by teacher: C to F#Vincent d'Indy. While A. A. Saygun became one of the pioneers of classical music in Turkey.

Few of d'Indy's works are performed regularly today. His best known pieces are probably the Symphony on a French Mountain Air (Symphonie sur un chant montagnard français, also known as Symphonie cévenole) for piano and orchestra (1886), and Istar (1896), a symphonic poem in the form of a set of variations in which the theme appears only at the end.[1]

Vincent d'Indy in 1913. Among d'Indy's other works are other orchestral music (including a Symphony in B♭, a vast symphonic poem, Jour d'été à la montagne, and another, Souvenirs, written on the death of his first wife; he later remarried), chamber music, including two of the most highly regarded string quartets of the latter nineteenth century (No. 2 in E major, Op. 45, and No. 3 in D-flat, Op. 96), piano music (including a Sonata in E minor), songs and a number of operas, including Fervaal (1897) and L'Étranger (1902). His music drama Le Légende de Saint Christophe, based on themes from Gregorian chant, was performed for the first, and possibly last, time, on 6 June 1920. His comédie musicale had its premiere in paris on 10 June 1927. His Lied for cello and orchestra, Op. 19, was recorded by Julian Lloyd Webber and the English Chamber Orchestra conducted by Yan Pascal Tortelier in 1991. As well as Franck, d'Indy's works show the influence of Berlioz and especially of Wagner.

D'Indy helped revive a number of then largely forgotten early works, for example, making his own edition of Claudio Monteverdi's opera L'incoronazione di Poppea.

His musical writings include the co-written three-volume Cours de composition musicale (1903–1905), as well as studies of Franck and Beethoven.

D'Indy died where he was born, in Paris.

Political views[edit]

D'Indy was a committed monarchist, joining the League of la Patrie française during the Dreyfus affair. He was anti-Semitic, but did not extend this bias to his Jewish colleagues.[1]

Critical reaction[edit]

Vincent d'Indy, photo: Library of Congress Opera critic Arthur Elson, writing in 1901, while appreciating d'Indy, prefers another composer.[2]:343–44

Of the younger men, Vincent d'Indy (1851– ) has shown himself abreast of the times, and his Fervaal, with a libretto of "rhythmic prose," is a worthy example of the school of operatic realism and musical complexity. [...] But the most prominent composer for the Paris stage at present is Alfred Bruneau. [...] [I]n Le Réve [sic] (1891), on a libretto from Zola's novel, he began the career that has won him his present position.

In a post-Wagner age under "the artistic domination of Bayreuth," Elson describes two "paths" in contemporary opera, one path being more conservative[2]:350–51

while the other has led to the uttermost regions of modern polyphony and dissonance. [...] Among the more radical group, corresponding to Bruneau, d'Indy and Franck, the most daring work has been done by Richard Strauss.

In Elson's opinion, those following the more conservative path are Cornelius, Goetz, Humperdinck, Goldmark, Saint-Saëns and Massenet.

Legacy[edit]

The private music college École de musique Vincent-d'Indy in Montreal, Canada, is named after the composer, as is the asteroid 11530 d’Indy. https://en.wikipedia.org/wiki/Vincent_d%27Indy

Symphony on a French Mountain Air, Op. 25 by Vincent D’indy (1886) https://youtu.be/ojHuauK7vlg

Vincent d'Indy Poème des rivages Op.77 (1919-21) Part I https://youtu.be/SnPH-6mim60

Movements/Sections 4 movements Calme et Lumière. Agay (Méditerranée) La joie du bleu profond. Miramar de Mallorca (Méditerranée) Horizons verts. Falconara (Adriatique) Le mystère de l'Océan. La Grande Côte (Golfe de Gascogne) http://imslp.org/wiki/Poème_des_rivages%2C_Op.77_(Indy%2C_Vincent_d%27)

The Conservatoire de Paris (pronounced [kɔ̃.sɛʁ.va.twaʁ də pa.ʁi]; English: Paris Conservatory) is a college of music and dance founded in 1795 associated with PSL Research University. It is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. The Conservatoire offers instruction in music, dance, and drama, drawing on the traditions of the "French School".

In 1946 it was split in two, one part for acting, theatre and drama, known as the Conservatoire national supérieur d'art dramatique (CNSAD), and the other for music and dance, known as the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP). Today the conservatories operate under the auspices of the Ministry of Culture and Communication.

Franco-Prussian War and the Third Republic[edit] In the Franco-Prussian War, during the siege of Paris (September 1870 – January 1871), the Conservatory was used as a hospital. On 13 May 1871, the day after Auber's death, the leaders of the Paris Commune appointed Francisco Salvador-Daniel as the director - however Daniel was shot and killed ten days later by the troops of the French Army. He was replaced by Ambroise Thomas, who remained in the post until 1896. Thomas's rather conservative directorship was vigorously criticized by many of the students, notably Claude Debussy.[2]

Piano class of Charles de Bériot in 1895 with Maurice Ravel on the left During this period César Franck was ostensibly the organ teacher, but was actually giving classes in composition. His classes were attended by several students who were later to become important composers, including Ernest Chausson, Guy Ropartz, Guillaume Lekeu, Charles Bordes, and Vincent d'Indy.[2]

Théodore Dubois succeeded Thomas after the latter's death in 1896. Professors included Charles-Marie Widor, Gabriel Fauré, and Charles Lenepveu for composition, Alexandre Guilmant for organ, Paul Taffanel for flute, and Louis Diémer for piano.[2]

Gabriel Fauré[edit]

Fauré in his office at the Conservatoire, 1918 Lenepveu had been expected to succeed Dubois as director, but after the "Affaire Ravel" in 1905, Ravel's teacher Gabriel Faurébecame director. Le Courier Musical (15 June 1905) wrote: "Gabriel Fauré is an independent thinker: that is to say, there is much we can expect from him, and it is with joy that we welcome his nomination."[14]

Fauré appointed forward-thinking representatives (such as Debussy, Paul Dukas, and André Messager) to the governing council, loosened restrictions on repertoire, and added conducting and music history to the courses of study. Widor's composition students during this period included Darius Milhaud, Arthur Honegger, and Germaine Tailleferre. Other students included Lili Boulanger and Nadia Boulanger. New to the staff were Alfred Cortot for piano and Eugène Gigout for organ.[2]

The modern era[edit]

The CNSMDP new building at the Cité de la Musique. The Conservatory moved to facilities at 14 rue de Madrid in 1911.[2]

Henri Rabaud succeeded Fauré in 1920 and served until 1941. Notable students were Olivier Messiaen, Jean Langlais, and Jehan Alain. Staff included Dukas and Jean Roger-Ducasse for composition, Marcel Dupré for organ, Marcel Moyse for flute, and Claire Croiza for singing.[2]

Claude Delvincourt was director from 1941 until his tragic death in an automobile accident in 1954. Delvincourt was a progressive administrator, adding classes in harpsichord, saxophone, percussion, and the Ondes Martenot. Staff included Milhaud for composition and Messiaen for analysis and aesthetics. In 1946, the dramatic arts were transferred to a separate institution (CNSAD). Delvincourt was succeeded by Dupré in 1954, Raymond Loucheur in 1956, Raymond Gallois-Montbrun in 1962, Marc Bleuse in 1984, and Alain Louvier in 1986. Plans to move the Conservatory of Music and Dance to more modern facilities in the Parc de la Villette were initiated under Bleuse and completed under Louvier. It opened as part of the Cité de la Musique in September 1990.[2]

Currently, the conservatories train more than 1,200 students in structured programs, with 350 professors in nine departments.

https://en.wikipedia.org/wiki/Conservatoire_de_Paris

Les XX was founded on 28 October 1883 in Brussels and held annual shows there between 1884 and 1893, usually in January–March. The group was founded by 11 artists who were unhappy with the conservative policies of both the official academic Salon and the internal bureaucracy of L'Essor, under a governing committee of twenty members. Unlike L'Essor ('Soaring'), which had also been set up in opposition to the Salon, Les XX had no president or governing committee. Instead Octave Maus (a lawyer who was also an art critic and journalist) acted as the secretary of Les XX, while other duties, including the organization of the annual exhibitions, were dispatched by a rotating committee of three members. A further nine artists were invited to join to bring the group membership of Les XX to twenty; in addition to the exhibits of its Belgian members, foreign artists were also invited to exhibit.[1]

There was a close tie between art, music and literature among the Les XX artists, during the exhibitions, there were literary lectures and discussions, and performances of new classical music, which from 1888 were organised by Vincent d'Indy,[2] with from 1889 until the end in 1893 very frequent performances by the Quatuor Ysaÿe.[3] Concerts included recently composed music by Claude Debussy, Ernest Chausson and Gabriel Fauré. Leading exponents of the Symbolist movement who gave lectures include Stéphane Mallarmé, Théodore de Wyzewa and Paul Verlaine.[1]

https://wikivisually.com/wiki/Les_XX

Vincent Willem van Gogh (Dutch, 1853–1890)

Self-Portrait, 1887, Art Institute of Chicago https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Self-Portrait_-_Google_Art_Project_(454045).jpg

Flowering Plum Orchard (after Hiroshige), 1887. Van Gogh Museum, Amsterdam https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Bloeiende_pruimenboomgaard-_naar_Hiroshige_-_Google_Art_Project.jpg

The Starry Night, June 1889. Museum of Modern Art, New York https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg

The Church at Auvers, 1890. Musée d'Orsay, Paris https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise,_View_from_the_Chevet_-_Google_Art_Project.jpg

Starry Night Over the Rhone, 1888. Musée d'Orsay, Paris https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg

Olive Trees with the Alpilles in the Background, 1889. Museum of Modern Art, New York https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Van_Gogh_The_Olive_Trees..jpg

Wheatfield Under Thunderclouds, 1890, Van Gogh Museum, Amsterdam, Netherlands https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Wheatfield_under_thunderclouds_-_Google_Art_Project.jpg

Wheatfield with Crows, 1890. Van Gogh Museum, Amsterdam https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Wheatfield_with_crows_-_Google_Art_Project.jpg

Vincent Willem van Gogh (Dutch: [ˈvɪnsɛnt ˈʋɪləm vɑn ˈɣɔx] (About this sound listen);[note 1] 30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings, most of them in the last two years of his life. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. His suicide at 37 followed years of mental illness and poverty.

Born into an upper-middle-class family, Van Gogh drew as a child and was serious, quiet and thoughtful. As a young man he worked as an art dealer, often travelling, but became depressed after he was transferred to London. He turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881, having moved back home with his parents. His younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, contain few signs of the vivid colour that distinguished his later work. In 1886, he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and local landscapes. His paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include series of olive trees, wheat fields and sunflowers.

Van Gogh suffered from psychotic episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly and drank heavily. His friendship with Gauguin ended after a confrontation with a razor, when in a rage, he severed part of his own left ear. He spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homoeopathic doctor Paul Gachet. His depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later.

Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the public imagination as the quintessential misunderstood genius, the artist "where discourses on madness and creativity converge".[6] His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and German Expressionists. He attained widespread critical, commercial and popular success over the ensuing decades, and is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist.

https://en.wikipedia.org/wiki/Vincent_van_Gogh

[diegosantoscampo-blog]

3.- Marcel Moyse: not only a great performer, Marcel Moyse is mostly known to any flute student for being a huge mechanical and technical theorist. His playing style, whith a flexible, clean pitch, learned from the best Masters at the time Phillipe Gaubert and Paul Taffanel, led to the style contemporary flute would follow.

(Paying: Humoresque: Dvorak)

Marcel Moyse was one of the most influential flutists of the twentieth century, first in France and later in the United States. He entered the Paris Conservatory in 1905, where he studied with Hennebains, Gaubet, and Taffanel. 

He developed a uniquely lyrical style, imitating the vibrato and phrasing of contemporary instrumentalists and singers. He played principal flute at the Opéra-Comique from 1913 to 1938, and frequently performed as a soloist in concert and in some of the earliest recordings of the standard flute repertoire. 

Moyse taught at both the Paris Conservatory from 1932 until 1940 and at the Geneva Conservatory until 1949, when he emigrated (via Argentina) to North America. There he became one of the founders of the Marlboro Music Festival, where he taught from 1949 to 1966. Moyse's experience playing in the Paris opera orchestras influenced his teaching; in order to develop tonal flexibility, he encouraged his students to practice nineteenth century operatic arias on the flute. Moyse published many pedagogical works that are still widely used. 

[spockmaninoff]

what does paul taffanel eat for breakfast?

flute loops

[charmcityrecords-blog]

The New York Woodwind Quintet Jean Francaix Paul Taffanel Quintet For Winds LP Album 1960 Classical Everest Vinyl Record