DESCRIPTION:
Florent Schmitt (1870 - 1958), Soirs, suite pour orchestre, Op.5

Performed by Monte-Carlo Philharmonic Orchestra, David Robertson Cond.

00:00 - No. 1 En rêvant (Dreaming)
02:22 - No. 2 Spleen (Melancholy)
07:39 - No. 3 Gaity (Gaiety)
09:15 - No. 4 Après l’été (After the Summer)
13:17 - No. 5 Parfum exotique (Exotic Fragrance)
16:39 - No. 6 Sur l’onde (On the Wave)
19:45 - No. 7 Un soir (An Evening)
23:30 - No. 8 Eglogue (Idyll)

“Florent Schmitt was the last of that great family
to which Ravel, Dukas and Roussel belong. He remains
one of those who, by a happy assimilation of German
or Central European influences, brought the French
school back to certain notions of greatness”.

-- Henri Dutilleux, 1958

The music of Florent Schmitt is vigorous and full-bodied, breaking with the French half-tone art. He developed a powerful, luxuriant and passionate musical language. His writing is very melodic but that does not prevent the use of a harmonic language that is both rich and sensual, entailing at times a certain complexity. His genius in handling the orchestra places him among the great composers of his time, but he remains unclassifiable, neither impressionist, nor neo-classical, nor post-romantic, but between such categories.

In his 138 opus numbers, Schmitt shows interest in all forms of music, with the exception of opera. He wrote remarkable chamber music, choral pieces and songs. On the other hand he composed few concertante works, but several intended for orchestra, ballet
suites and theatre music such as Le petit else Ferme-l’oeil and La tragédie de Salomé.

Today Florent Schmitt seems to have been forgotten, with the exception of two works, Psalm XLVII and La tragédie de Salomé (a mime-drama in two acts and seven scenes). In 1906 the first performance of his Psalm XLVII was an event, and in 1907 La tragédie de Salomé created a similar sensation. These two scores established the composer’s reputation. In 1912 Stravinsky paid tribute to Schmitt, writing: “Dear and very dear friend, when will your brilliant Salomé appear, so that I can spend happy hours going through it again and again. I must admit that it brought me the greatest delight that any work of art has given me for a long time”.

It is possible to distinguish three definite stages in the development of Schmitt’s orchestration, early works, the period of development from 1900 to 1913, during which he wrote Réves, and finally the period of maturity, with a creative power that continued until his death.

The musicologist Eric Berman captures the essence of Schmitt’s suite well when he states:

“The title [Soirs] quite remarkably defines it: A nostalgic atmosphere and a feeling which is very close to romanticism hangs over the whole composition. The influence of Chopin is undeniable, but the preludes already have the stamp of a master
…
The themes are beautiful, with minor tonalities prevailing. This very intimate music appeals directly to the soul without any artificial means. It also has a certain innocence which makes it both charming and fascinating.”