Chabrier


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Chabrier

(Alexis) Emmanuel . 1841--94, French composer; noted esp for the orchestral rhapsody España (1883)
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
References in periodicals archive ?
Chabrier's views of his place in the French musical establishment were not restricted to mere allegory.
We know that Debussy was an excellent pianist, and that he enjoyed playing duets on one or two pianos; his duet activity included such unusual events as a two-piano performance of Das Rheingold, a memorable visit in Rome in January 1886 when Debussy and Paul Vidal played Emmanuel Chabrier's brilliant Trois valses romantiques for the aging Franz Liszt at the Villa Medici, and a historic sight-reading with Igor Stravinsky of the piano score of The Rite of Spring before the premiere in 1913.
Grieg's Piano Concerto, Berlioz, Chabrier and Shostakovich.
The disc is filled with show-stoppers, things like Saint-Saens' Dance Macabre, Chabrier's Espana, and Falla's Ritual Fire Dance.
He restored an abandoned policy of mounting two operas rather than one per season, collaborated with Tafelmusik Baroque Orchestra Music Director Jeanne Lamon in the revival of Handel operas and conducted the Toronto premieres of a range of operas stretching from Chabrier's L'etoile to Britten's Paul Bunyan and A Midsummer Night's Dream.
Mallarme's mardis as well as Pauline Viardot's jeudis included composers and musicians, and Chausson and Chabrier held their own salons that in turn included artists and writers as well as musicians.
Orchestral works by Mozart, Sibelius and Chabrier are here, plus dated-sounded excerpts from Mozart's C minor Mass and Handel's Israel in Egypt with soprano Dora Labbette and the Leeds Festival Chorus.
Among the best are the opening number, Gade's tango "Jealousie," Waldteufel's "The Skaters' Waltz," Liszt's "Liebestraum," Chabrier's "Espana," and especially Sibelius's "Alla Marcia." Among those that do not fare as well are Ketelbey's "In a Persian Market," the "baksheesh" chorus sounding rough and ill placed; Sousa's "Stars and Stripes Forever," odd considering Fiedler must have known it backwards; and the Scherzo from Mendelssohn's "A Midsummer Night's Dream." Nevertheless, these are minor glitches in an otherwise fine set of sonic accomplishments.