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Reynaldo Hahn
Person · male · France · Caracas · born 1874 · died 1947 · recording since 1988
Venezuelan-French composer (1874-1947)
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Also known as 雷纳尔多·哈恩
Timeline
33 events▣ Album 30◦ Birth 1† Death 1★ Debut release 1
1870s
1940s
1980s
· Debut release
Debut release: Songs by Reynaldo Hahn
First documented Album in the MusicBrainz discography.
source: musicbrainz
1990s
2000s
2010s
· Album
Album: Divertissement pour une fête de nuit / Le Bal de Beatrice d’Este / Sérénade / Concerto provençal
Album
source: musicbrainz
2020s
Biography
English biography5,117 words · 11 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1373940592
Biography
Reynaldo Hahn de Echenagucia (9 August 1874 – 28 January 1947) was a French composer, conductor, music critic, and singer of Venezuelan birth. He is best known for his songs – mélodies – of which he wrote more than 100.
Hahn was born in Caracas but his family moved to Paris when he was a child, and he lived most of his life there. Following the success of his song "Si mes vers avaient des ailes" (If my verses had wings), written when he was aged 14, he became a prominent member of fin de siècle French society. Among his closest friends were Sarah Bernhardt and Marcel Proust. After the First World War, in which he served in the army, Hahn adapted to new musical and theatrical trends and enjoyed successes with his first opérette, Ciboulette (1923) and a collaboration with Sacha Guitry, the musical comedy Mozart (1926). During the Second World War Hahn, who was of Jewish descent, took refuge in Monaco, returning to Paris in 1945 where he was appointed director of the Opéra. He died in Paris in 1947, aged 72.
Hahn was a prolific composer. His vocal works include secular and sacred pieces, lyric scenes, cantatas, oratorios, operas, comic operas, and operettas. Orchestral works include concertos, ballets, tone poems, incidental music for plays and films. He wrote a range of chamber music, and piano works. He sang as well as played his own songs, and made recordings as a soloist and accompanying other performers.
After his death, his music was largely neglected until the late 20th century, which saw increasing interest and frequent performances of his songs and piano work, as well as much of his orchestral music and some of his stage works.
Early years
Reynaldo Hahn de Echenagucia was born in Caracas, Venezuela, on 9 August 1874, the youngest child of Carlos (né Karl) Hahn (1822–1897) and his wife Elena María née de Echenagucia (1831–1912). Carlos Hahn, the eldest son of a Jewish family in Hamburg, emigrated to Venezuela in 1845 at the age of twenty-two, making a highly successful business career there. He converted to Roman Catholicism to marry Elena de Echenagucia; she was of Spanish descent on her father's side and Dutch-English on her mother's. When his friend and associate Antonio Guzmán Blanco became president of the country in 1870, Carlos became Blanco's financial adviser. The Hahns had eleven or twelve children, nine of whom lived to adulthood. Reynaldo, known as "Nano", was the youngest, twenty years younger than his eldest brother. He was brought up speaking fluent German, Spanish and (having a British nanny) English.
When Blanco's first term of office came to an end in 1877, the Hahn family left Venezuela and settled in Paris, where they had relations and well-connected friends. It was France that, as a 21st-century writer put it, would "determine and define Hahn's musical identity in later life". Among the family's Parisian friends was Princess Mathilde, niece of Napoleon I; at a musical soirée in her drawing room, the young Hahn made his public debut as a singer at the age of six. He began composition lessons with an Italian teacher when he was eight.
In 1885, aged eleven, Hahn was admitted to the Conservatoire de Paris's preparatory course. He went on to study piano with Émile Decombes, harmony with Albert Lavignac and Théodore Dubois, and composition with Charles Gounod and Jules Massenet. Among his fellow students were Maurice Ravel and Alfred Cortot, as well as the pianist Édouard Risler, with whom he would keep an extensive correspondence. Massenet in particular became Hahn's lifelong friend and mentor. As a young man Massenet had won France's top musical scholarship, the Prix de Rome, but Hahn could not emulate him: only French nationals were eligible, and the Hahns had not taken French citizenship. Besides, Massenet counselled, with rich parents Hahn did not need the scholarship as his less affluent colleagues did. Through Massenet, Hahn met Camille Saint-Saëns, with whom he studied privately in addition to his Conservatoire lessons. Hahn's fellow students
While still a student Hahn had an early success with his mélodie "Si mes vers avaient des ailes" (If my verses had wings) to a poem by Victor Hugo. The song was among a set of Hahn's mélodies published by the leading music publisher Hartmann et Cie in 1890. Le Figaro took it up – "We feel we must reproduce this graceful piece which obviously denotes a delicate and original musician" – and devoted half a broadsheet page to printing the words and music.
Hahn dedicated "Si mes vers avaient des ailes" to his sister Maria, who had married the painter Raimundo de Madrazo y Garreta. At their house Hahn met many of the leading figures in the arts, including Alphonse Daudet, for whose play L'obstacle the teenaged Hahn composed incidental music. The play was presented at the Théâtre du Gymnase in December 1890. Daudet called Hahn's music his "chère musique préférée" (dear favourite music). At the Daudets' house in 1893 the singer Sybil Sanderson premiered Hahn's Chansons grises, settings of poems by Paul Verlaine. The poet was present and was moved to tears by Hahn's settings of his verse. Stéphane Mallarmé was also present, and wrote:
In the early 1890s Hahn worked on his first opera L'île du rêve, "a Polynesian idyll", written at Massenet's behest. During this period he met Marcel Proust for the first time, at Madeleine Lemaire's salon on 22 May 1894. As far as is known, the 19-year-old Hahn's romantic attachments before then had been intimate but platonic relationships with the famous Parisienne beauties Cléo de Mérode and Liane de Pougy. Until this point, he had been uneasy to the point of hostility about homosexuality and homosexuals, but the two men quickly began an intense love affair, Proust's only real liaison. Their affair lasted for only two years, but it evolved into a lifelong close friendship. Proust wrote, "Everything I have ever done has always been thanks to Reynaldo." The music scholar James Harding writes about the fictional Vinteuil Sonata: "It was Hahn who suggested to Proust the famous petite phrase which recurs symbolically throughout À la recherche du temps perdu and which is none other than a haunting theme from Saint-Saëns's D minor violin sonata". Hahn was also the inspiration for the eponymous protagonist of Proust's early unfinished novel Jean Santeuil (c. 1896–1900).
Hahn completed his studies at the Conservatoire satisfactorily but "without producing sparks in examinations and competitions", as his biographer Jacques Depaulis puts it. Massenet resigned from the faculty in May 1896, and Hahn left at the same time as his mentor.
1896 to 1913
In 1896 Proust wrote the words and Hahn the music for Portraits de peintres for reciter and piano, premiered at the house of Madeleine Lemaire, where they had met. Later in that year Hahn formed another of his closest friendships: he had long admired the actress Sarah Bernhardt, and at the end of 1896 he met her and quickly became part of her inner circle of friends and helpers. He frequently visited her in her dressing room during and after performances, lunched with her at her Paris townhouse, travelled with her to London and on tour, and composed music for her productions.
L'île du rêve was premiered in 1898, when thanks to Massenet's influence the Opéra-Comique staged the piece, with a fine cast, conducted by André Messager. The press notices were hostile, and the piece was withdrawn after seven performances. While it was in rehearsal Paris was agog at the Zola trial in the continuing Dreyfus affair. The affair sharply divided French opinion; Hahn, like Proust and Bernhardt, was in the Dreyfusard camp. The anti-Semitic overtones of the anti-Dreyfusard campaign disturbed him deeply, but his devotion to France was unshaken.
In 1898, following the success of his first set of 20 mélodies, published two years earlier, Hahn began composing a second set. which he worked on for more than 20 years. In the same year he started work on 12 "Rondels" for soloists, chorus and piano, completed the following year. In 1899, following the long tradition of French composers supplementing their income by writing music reviews, he became critic for La Presse.
In December 1902 Hahn's second opera, La Carmélite, described as "a musical comedy", with a libretto by Catulle Mendès, was premiered at the Opéra-Comique. Emma Calvé played the main role of Louise de La Vallière, Messager was once again the conductor, and the piece was lavishly mounted, but it was received politely rather than with enthusiasm, and did not gain a place in the operatic repertoire. Its prospects were not helped by the Opéra-Comique's decision to yield to religious lobbyists and cut the climactic scene in which Louise takes the veil; that scene won critical praise as "inspired", whereas the rest of the score was thought to be skilful, pretty and spirited but lacking in character.
Following this disappointment, Hahn turned his attention away from opera. In 1905 he composed one of his most popular works, the suite for chamber ensemble Le Bal de Béatrice d'Este; in Grove's Dictionary of Music and Musicians, Patrick O'Connor observes that this work, "conceived merely as a divertissement", has remained one of the composer's best-known and most frequently performed.
Hahn began to attract notice as a conductor. Performances of Don Giovanni under his baton in 1903 were praised for his "flexible and light touch" and for his scholarly – and at the time unusual – fidelity to Mozart's score. In 1906 he and Gustav Mahler were the conductors for the two operas given at the Salzburg Festival, celebrating Mozart's 150th anniversary. Mahler conducted Le nozze di Figaro; Hahn conducted Don Giovanni with the Vienna Philharmonic and a cast including Lilli Lehmann and Geraldine Farrar.
In December 1907 Hahn became a naturalised French citizen. In that year he composed his set of six Songs and Madrigals, setting words by medieval and Renaissance French poets in which he incorporated music in the style of Antoine Boësset, court composer to Louis XIII.
Hahn followed the dances of Le Bal de Béatrice d'Este with two complete ballet scores, La Fête chez Thérèse (1910) and Le Dieu bleu (1912). The latter was the first ballet with a score by a French composer presented by Diaghilev's Ballets russes; the premiere went well but the piece was overshadowed by two other ballets with French scores presented later in the season: Debussy's L'Après-midi d'un faune and Ravel's Daphnis et Chloé.
1914 to 1929
At the outbreak of war in 1914 Hahn, who was over the official age limit for conscription, volunteered for the army as a private. For most of the war he served as an adjutant's clerk, working near the front, under frequent bombardment. When possible he continued to compose, writing music for his regiment, contributing to revues for the troops, and working on two new operas, one based on the Odyssey and the other on The Merchant of Venice. He set five verses by Robert Louis Stevenson as a song cycle for children. In 1917 he was promoted to corporal as a despatch rider, and in the last year of the war he was posted to the Ministry of War in Paris as a cipher clerk. For his wartime services he was awarded the Croix de guerre and appointed to the Legion of Honour.
When Hahn returned to civilian life, Cortot, director of the newly founded École Normale de Musique de Paris, appointed him professor of interpretation and singing. Hahn was known for the high standards he expected of singers, and published articles and a book, Du chant (1921), on interpretation and singing technique. In 1919 he met the tenor Guy Ferrant, with whom he began a lifelong and happy personal partnership. When singing himself, Hahn was highly regarded performer at the Parisian salons, and was known for his wit in such circles.
In 1921 Hahn was invited by an old friend, the playwright Robert de Flers, to compose the music for an operetta for which Flers and his collaborator Francis de Croisset had written the libretto. Hahn had reservations: the piece was set in the market of Les Halles, which was the setting for Charles Lecocq's La fille de Madame Angot, written fifty years earlier but still immensely popular. Furthermore, the heroine was called Ciboulette, meaning "chives", which Hahn thought unromantic, and the most interesting character was neither the heroine nor the hero, but their mentor, "a sort of elderly Rodolfo out of La bohème". Nonetheless, Hahn accepted the invitation.
Between the start of work on Ciboulette and its premiere, Hahn lost his two closest friends. Proust died in November 1922 and Bernhardt the following March. He pressed on with work, and in April 1923 Ciboulette opened at the Théâtre des Variétés. It was well reviewed and was an enormous box office success. It was revived in Paris several times during Hahn's lifetime, and has remained in the repertoire in France, with 21st-century revivals at the Opéra-Comique and elsewhere.
In 1924 Hahn was promoted to officer in the Legion of Honour. The following year he had the second big success of his theatrical career. The actor and playwright Sacha Guitry invited him to write the music for a new comédie musicale called Mozart. The piece was loosely based on the early life of the composer, and was to star Guitry and his wife, Yvonne Printemps, the latter en travesti as the young Mozart. Hahn agreed, and composed a score incorporating various extracts from Mozart's works along with his own original music. The show opened in December 1925 at the Théâtre Édouard VII, receiving enthusiastic reviews: Messager, writing in Le Figaro, called it "a piece of rare quality", and commented that the score was so good that it was hard to detect where Mozart's music ended and Hahn's began: this, he said, was the highest possible praise. The show was a popular success in Paris, with, for the time, an excellent run of seven months. The Guitrys then took the production to London in 1926, where it was well received. At the end of that year there were two versions running on Broadway: the Guitry company played the French original for a limited season, and an English translation ran at another theatre, starring Frank Cellier and Irene Bordoni.
1930 to 1947
In 1930 Hahn composed a piano concerto, premiered in February 1931 with its dedicatee, Magda Tagliaferro, as soloist and the composer conducting; according to Grove it became Hahn's best-known concert work. Tagliaferro and Hahn later recorded the work for the gramophone; the recording has been reissued on CD. In 1931 Hahn wrote the music for the opérette Brummell. In 1933 he became Le Figaro's music critic. In the same year, Ciboulette was filmed for the cinema. The young director Claude Autant-Lara made a fairly free adaptation of the stage work, with Simone Berriau in the title role; it cam out in Paris in November 1933, and was well received.
Hahn's only major commission for the Paris Opéra was the work based on The Merchant of Venice that he had begun composing during the war. Le marchand de Venise, with a verse libretto by Miguel Zamacoïs, premiered in March 1935. It was received with enthusiasm, and although it was not revived in Paris during Hahn's lifetime it had several new productions later. Guitry and Hahn worked together on another show, O mon bel inconnu (O My Beautiful Stranger, 1933), starring Arletty. The reviewer in Lyrica commented "Is it operetta? No; comic opera? Not that, either; vaudeville? Not in the least. So what is it? I don't know, but it is unpretentious and it is charming". He added, "Neither of the two authors, so admirably gifted, gave the best of themselves, but the crumbs they nonchalantly let fall from their table are still enough to compose a nice meal". Hahn composed the music for two other musical comedies during the 1930s as well as a considerable quantity of incidental music for plays and films.
In the second half of the decade Hahn was again prominent as a conductor, directing performances of The Magic Flute, The Seraglio and The Marriage of Figaro. His fidelity to Mozart was remarked on in the press: after years of productions at the Opéra-Comique in which the composer's recitatives in Figaro were replaced by spoken dialogue, Hahn used a new, more scholarly text edited by Adolphe Boschot. In the concert hall he formed musical partnerships with younger performers; in addition to Tagliaferro, he regularly accompanied Ferrant and the soprano Ninon Vallin.
When the Germans occupied Paris in 1940, Hahn left for the south of France and then for neutral Monaco. He was less at risk there from Nazi anti-Semitic persecution, but narrowly avoided being killed by the explosion of a stray shell from a British submarine aimed at a German warship moored near his rooms on the seafront at Monte Carlo. He returned to Paris in February 1945, and was elected to the Institut de France's Académie des Beaux-Arts, and appointed director of the Paris Opéra. His last concert work, the Concerto provençal, was premiered in a broadcast by Radiodiffusion Française on 30 July 1945 and given in concert the following April.
In 1946, together with Tagliaferro and Vallin, Hahn made a concert tour, performing in London, Geneva, Brussels, Marseille and Toulon. He was taken ill and an operation was performed to treat a brain tumour, which his doctors believed might have been caused by the explosion in Monte Carlo.
Hahn died in Paris on 28 January 1947, at the age of 72. He was buried in Père Lachaise Cemetery, near the grave of Proust.
Mélodies
Hahn is best known for his mélodies ― the French art song, a form distinct from popular or folk song and known for a union of music and poetry. He wrote just over 100; most were composed in the thirty-year period from 1888 to the end of the First World War, after which the demand for songs with piano accompaniment diminished and he turned to other forms. His style, in his early songs, reflects the influence of Massenet, but he regarded Gabriel Fauré as the supreme master of the mélodie, and favoured some of Fauré's chosen poets, including Victor Hugo, Théophile Gautier and Paul Verlaine. He was only thirteen when he wrote the Hugo setting "Si mes vers avaient des ailes", later included in his first collection of 20 Mélodies (1895). Johnson writes that the song displays all the distinguishing marks of the composer's style:
His first published set of songs was Chansons grises (Songs in Grey, 1890), which included a setting of Verlaine's "La bonne chanson" (The good song) that the poet preferred to Fauré's well known version of it. The set's most famous number, "L'Heure exquise" (The exquisite hour), is a quiet song featuring a barely changing chordal pattern and among the best known of Hahn's works. The commentator James Day observes that the songs in the set display "a maturity quite remarkable in a sixteen-year-old – and an empathy with the poet quite unexpected in a musician of any age".
After Chansons grises Hahn composed further song cycles over the next 25 years. Rondels (1898–99), with words by Charles d'Orléans, Théodore de Banville and Catulle Mendès, was an example of the composer's fascination with the past, setting original and modern versions of the old rondel verse form. In Études latines (Latin studies, 1900) Hahn set ten verses by Leconte de Lisle, evoking Graeco-Roman antiquity. In three of the songs the soloist and pianist are joined by a chorus. Hahn again experimented with combinations of voices in Venezia (1901), a set of six lyrics in Venetian dialect, in which the final song is a duet for tenor and soprano with chorus. For Les feuilles blessées (The Injured Leaves, 1901–1906) Hahn turned to a contemporary poet, Jean Moréas, known for his symbolist verse. In 1907 Hahn returned to older forms with Chansons et madrigaux (Songs and madrigals), setting words by d'Orléans, Jean-Antoine de Baïf and others, in a cycle of six songs for four voices. Love Without Wings (1911) is a set of three verses in English by Mary Robinson, and Hahn again set English texts in Five Little Songs (1915), with verses by Robert Louis Stevenson. Grove lists a final cycle, Chansons espagnoles (Spanish songs, 1947).
In addition to the song cycles, two collections of Hahn's mélodies, comprising twenty songs each, were published during his lifetime. Both sets include some songs previously published individually, and there were twelve other songs not part of a cycle or included in a published collection.
Operas, opérettes and musical comedies
Hahn completed five operas, and left an incomplete one. The first, L'Île du rêve, an "idylle polynésienne" in three acts, has a libretto by André Alexandre and Georges Hartmann, adapted from Pierre Loti's semi-autobiographical 1880 novel Rarahu or Le Mariage de Loti set in Tahiti. It ran for seven performances in 1898, and was revived at Cannes in 1942, conducted by the composer, but was not seen again in Paris until 2016, when a production from the Théâtre de la Coupe d'Or, Rochefort was presented at the Théâtre de l'Athénée. Henri Büsser considered the work "charming … very musical"; it is through-composed and there are no set-piece numbers. Hahn makes use of leitmotifs, following the example of Massenet.
La Carmélite (1902), a period piece set in the reign of Louix XIV, made little impact, although its conductor, Messager, who was musical director at Covent Garden as well as at the Opéra Comique, considered staging it in London; the idea was not realised. Neither of Hahn's next two operas – Nausicaa (1919, libretto by René Fauchois) and La Colombe de Bouddha (Buddha's Dove, 1921), a one-act work with words by André Alexandre – was written for Paris, and neither was staged there. The former was given at the Opéra de Monte-Carlo, and the latter at the Théâtre du Casino municipal de Cannes, where Hahn conducted frequently.
Le Marchand de Venise (1935) was the most successful of Hahn's serious operas. It was well received; Büsser wrote:
Other critics noted the Mozartian lightness of the score, and Hahn's view of Shakespeare's drama as a comedy rather than a tragedy. After the opera had its American premiere, the critic Herbert Kupferberg described it as "charming and dramatic", and called for a recording. The piece has been revived by the Opéra-Comique (1979) and at the Grand Théâtre Massenet, Saint-Étienne (2015). Hahn left an unfinished opera, Le Oui des jeunes filles (The Maidens' Consent), which Büsser completed; it was given by the Opéra-Comique company in June 1949.
Ciboulette, Hahn's first venture into opérette, was his most successful and enduring. In a study of opérette, James Harding writes that Hahn's score, though in the tradition of earlier composers, specifically Lecocq, "rejuvenates the old technique with a singular brightness of melody and adroit combinations of voice and instrument". After the initial run in 1923, there were revivals in Paris in 1926, 1931 and 1935, and after Hahn's death there were revivals at the Opéra-Comique in 1953, 2013 and 2014. When the work was first given in London, eighty years after the Paris premiere, the critic Michael Kennedy wrote, "I cannot imagine why it is not in the regular international repertoire, for in many respects it is the equal of Fledermaus and The Merry Widow … there is not a weak number in the piece". Hahn wrote two more opérettes, which were well received without rivalling the success of Ciboulette: Brummell (1931) and Malvina (1935).
Next to Ciboulette, Hahn's biggest box-office success was the "comédie musicale" Mozart, written with Sacha Guitry. Harding describes the piece as "a slim tracery of eighteenth-century allusion gilded by Sacha's unerring wit". Printemps had a great success in the title role, but the piece was successfully revived later with other stars: 1951 with Jeanne Boitel, 1952 with Graziella Sciutti and 2009 and 2011 with Sophie Haudebourg. Further musical comedies followed: Le Temps d'aimer (1926), Ô mon bel inconnu (1933, with Guitry), and Beaucoup de bruit pour rien (Much Ado About Nothing, 1936), a "comédie musicale shakespearienne".
Orchestral and concertante
Among the best known of Hahn's orchestral works is the suite Le Bal de Béatrice d'Este (1905), for a small ensemble of wind instruments, harps, piano and percussion. Evoking a 15th-century Italian court entertainment it displays Hahn's abilities as a pasticheur. Grove describes it as a divertissement, and a later work by Hahn is specifically so labelled, the Divertissement pour une fête de nuit, for wind instruments (including saxophone), piano, string quartet and orchestra (1931).
Hahn wrote two concertos for soloist and conventional orchestral forces. The Violin Concerto (1928) is the larger-scale of the two. The opening movement, marked "Décidé", is richly scored, moving between strongly rhythmical and lyrical passages. The central movement, "Chant d'amour", subtitled "Souvenir de Tunis" evokes the heat and languor of North Africa. In 2002 a Gramophone reviewer wrote that it "hovers between dance and delirium". The finale opens gently, before accelerating into a lively concluding dance. Reviewing the first performance, Paul Bertrand wrote in Le Ménestrel, "This Concerto is, in fact, from a purely musical point of view, a miracle of taste, of delicacy, and it is at the same time marvellously suited to highlighting all the qualities of the performer and to earning him the greatest success". The Piano Concerto (1931) is a lighter-weight piece; the second movement lasts less than three minutes. The concerto is described in The Penguin Guide to Recorded Classical Music as "a charming work" with an opening theme that has "an English flavour, easily lyrical" leading to variations "full of sharp, sparkling contrasts … although no deep emotions are touched this is a delightful piece".
For the theatre, Hahn composed incidental music for more than 20 productions between 1890 and 1939, employing a variety of forces, from mezzo-soprano and children's chorus or soloists and two pianos to full orchestra. Playwrights ranged from Daudet and Hugo to Racine, and Miguel Zamacois. In 1934 he wrote scores for a film adaptation of La Dame aux Camélias and Léonce Perret's Sapho. As well as the 1912 Diaghilev ballet Le Dieu bleu, he supplied original ballet or other dance scores for five other theatrical productions between 1892 and 1939. Despite the evocations of Hinduism in the plot of Le Dieu bleu, Hahn did not seek to include orientalist elements and retained his typical salon style music.
Chamber and solo piano
Hahn, whose musical outlook was shaped in the 19th century, regarded Fauré as the last great composer, and musical analysts have noted the older composer's influence in several of Hahn's chamber works. In the Piano Quintet (written in 1922 and published the following year) there are stylistic and thematic echoes of Fauré, particularly in the C-sharp minor slow movement, although in a 2001 analysis Francis Pott also notes the influence of Dvořák, while Blay detects a strong affinity to César Franck. In the Violin Sonata (1926) there are further echoes of Faure's music in the opening movement ("imbued with Gallic restraint and supple expressivity" according to the commentator Jeremy Filsell), but Hahn departs from convention by making much of the last movement gentle and melancholic, rather than boisterous. The Piano Quartet (1946), a late work, is in three movements, and alternates serene passages and more turbulent sections. Like the Violin Sonata, it is a concise work, taking a little over 20 minutes in performance.
Most of Hahn's works for solo piano come from the first half of his career. Some are in conventional forms, including a set of ten waltzes (1896), a sonatine (1907), Thème varié sur le nom de Haydn (1910) and two études (1927, his only post-war piano works). The sonatine is a full-scale piano sonata but, like that of Ravel's, Hahn was daunted by any possible comparison with Beethoven's late piano sonatas, and preferred the more modest title. Other solo piano works are in unusual forms, such as the Portraits de peintres (1896), written to be played between spoken verses, or Le Rossignol éperdu (The Distraught Nightingale), Hahn's most extensive piano work, composed between 1902 and 1910 and published in 1913, consisting of 53 short pieces, grouped into four sections. Hahn wrote five works for piano four hands and four for two-piano duet.
Recordings
During the composer's lifetime there were many recordings, especially of his most popular mélodies, which, according to Depaulis, almost all the great recital singers enjoyed performing. Hahn made numerous recordings, singing and accompanying himself not only in his own songs, but also numbers by Mozart, Gounod, Chabrier, Massenet, Bizet and Offenbach. In the mid-20th-century, singers who made recordings of numerous Hahn songs included Jacques Jansen and Géori Boué. Since interest in Hahn's works revived in the late 20th century recordings of a substantial part of his oeuvre have been released. In 2006 Depaulis listed recordings of Hahn mélodies by, among others, the sopranos Mady Mesplé and Felicity Lott, the mezzo-sopranos Susan Graham, Marie-Nicole Lemieux and Anne-Sofie von Otter, the tenors Martyn Hill and Ian Bostridge and the baritones Didier Henry and Stephen Varcoe. Since then issues have included a 2019 four-disc CD set from the Centre de musique romantique française, "Reynaldo Hahn: Complete Songs", comprising 107 songs, sung by Tassis Christoyannis, accompanied by Jeff Cohen.
Hahn's complete piano music for two players has been recorded by Kun-Woo Paik and Hüseyin Sermet. In the 21st century Earl Wild's complete set of Le Rossignol éperdu (2001), has been followed by further such sets from Cristina Ariagno (2011), Billy Eidi (2015) and Yoonjung Han (2019). In 2015 a four-disc CD set entitled "Hahn: Intégrale Piano Music", played by Alessandro Deljavan was released on the Aevea label.
Of Hahn's stage works, Ciboulette was recorded by EMI in 1983, with a cast headed by Mesplé in the title role, and José van Dam (Duparquet) and Nicolai Gedda (Antonin). The work was recorded again in 2013 at the Opéra-Comique, conducted by Laurence Equilbey; audio and video versions were published. In 2020 Hervé Niquet conducted the first recording of L'île du rêve, released on the Bru Zane label. Yvonne Printemps recorded excerpts from Mozart in 1925 with an orchestra conducted by Marcel Cariven; among later recordings of music from the piece, the complete score was recorded by RTF Radio Lyrique in 1959, with a cast headed by Boué, conducted by Pierre-Michel Le Conte. A recording of a 1963 broadcast of Brummell conducted by Cariven was released as a CD set in 2018. A recording of a 1971 ORTF broadcast of Ô mon bel inconnu was issued on CD, and a new recording starring Véronique Gens was released by Bru Zane in February 2021.
Journals
Depaulis, Jacques (October–December 2006). "Un compositeur français sous-estimé: Reynaldo Hahn". Fontes Artis Musicae (in French). 53 (4): 263–308. JSTOR 23510460. (subscription required)
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 28 | 89th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 32 | 90.9th |
| Studio albums | 30 | 98.2th |
| Awards recorded | 1 | 89th |
| Timeline events | 33 | 97.3th |
| Recording span (years) | -41 | 7.1th |
| Genres | 5 | 88.3th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (32 release groups · 30 studio albums)
Albums · 30
1988 · studio album
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Tracklist · 22 tracks · 53:09
1Les Fontaines2:102À Chloris2:473Tyndaris1:554La Chère Blessure3:195L'Air3:166Quand je fus pris au pavillon1:107Les Étoiles2:518L'Automne1:269Infidélité2:2910Si mes vers avaient des ailes2:1411L'Enamourée3:2312Chansons grises: Chanson d'automne1:5313Chansons grises: Tous deux1:4514Chansons grises: L'allée est sans fin2:1015Chansons grises: En Sourdine3:3116Chansons grises: L'Heure exquise2:4317Chansons grises: Paysage triste2:1918Chansons grises: La Bonne Chanson1:4719D'une prison2:4320Offrande2:5721L'Incrédule2:1822Fêtes galantes2:031990 · studio album
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Tracklist · 29 tracks · 1:06:59
1Chansons grises: Chanson d’automne1:372Chansons grises: Tous deux1:353Chansons grises: L’allée est sans fin1:494Chansons grises: En sourdine2:305Chansons grises: L’Heure exquise1:586Chansons grises: Paysage triste2:307Chansons grises: La Bonne Chanson1:318D’une prison2:389L’Incrédule1:5110Offrande2:1111Fêtes galantes2:0912Si mes vers avaient des ailes2:1213Rêverie1:4714Quand la nuit n’est pas étoilée3:2215À Chloris3:1216Quand je fus pris au pavillon1:1117Nocturne1:4818Séraphine2:3619Mai1:4520Les Cygnes4:3721Trois jours de vendange3:2622Fumée2:4623Dans la nuit1:2524Sur l’eau3:3225Infidélité2:3826Seule1:5027Paysage2:4828La Nuit2:1629Le Printemps1:291992 · studio album
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Tracklist · 25 tracks · 55:24
1Trois préludes sur des airs irlandais: I. The Little Red Lark1:082Trois préludes sur des airs irlandais: II. My Love’s an Arbutus1:313Trois préludes sur des airs irlandais: III. The Willow Tree1:424Pièce en forme d’aria et bergerie3:065Sept berceuses: I. Berceuse des jours sans nuages0:436Sept berceuses: II. Berceuse pour la veille de noel1:277Sept berceuses: III. Berceuse pour les enfants de marins0:568Sept berceuses: IV. Berceuse des soirs d’automne1:549Sept berceuses: V. « Selfiana », berceuse créole1:1210Sept berceuses: VI. Berceuse pensive (à trois mains)1:0211Sept berceuses: VII. Berceuse tendre1:1812Caprice mélancolique3:4813Pour bercer un convalescent4:1714Le ruban dénoué, douze valses: I. Décrets indolents du hasard1:2715Le ruban dénoué, douze valses: II. Les soirs d’Albi2:2316Le ruban dénoué, douze valses: III. Souvenir… avenir…2:1217Le ruban dénoué, douze valses: IV. Danse de l’amour et du chagrin1:2718Le ruban dénoué, douze valses: V. Le demi‐sommeil embaumé5:3719Le ruban dénoué, douze valses: VI. L’anneau perdu1:4120Le ruban dénoué, douze valses: VII. Danse du doute et de l’espérance1:5321Le ruban dénoué, douze valses: VIII. La cage ouverte2:1022Le ruban dénoué, douze valses: IX. Soir d’orage1:4623Le ruban dénoué, douze valses: X. Les baisers2:4424Le ruban dénoué, douze valses: XI. Il sorriso2:5925Le ruban dénoué, douze valses: XII. Le seul amour5:011996 · studio album
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Tracklist · 51 tracks · 2:13:54
Disc 11Si mes vers avaient des ailes2:212Paysage2:243Rêverie2:384Offrande2:495Mai2:016Infidelité2:177Seule2:188Les Cygnes4:089Nocturne1:2810Trois jours de vendange3:0811D’une prison2:4512Séraphine2:2113L’Heure exquise2:3414Fêtes galantes1:5615Douze rondels: Le Jour3:4616Douze rondels: Je me metz en vostre mercy1:3117Douze rondels: Le Printemps1:4018Douze rondels: L’Air3:2419Douze rondels: La Paix2:1520Douze rondels: Gardez le trait de la fenêtre1:4221Douze rondels: La Pêche2:0322Douze rondels: Quand je fus pris au pavillon1:1923Douze rondels: Les Étoiles3:0324Douze rondels: L’Automne1:5625Douze rondels: La Nuit2:4526Douze rondels: Le souvenir d’avoir chanté2:04Disc 21Quand la nuit n’est pas étoilée3:452Le plus beau présent2:153Sur l’eau3:214Le Rossignol des lilas2:015À Chloris2:446Ma jeunesse2:467Puisque j’ai mis ma lèvre4:388Études latines: Lydie2:239Études latines: Néère3:2810Études latines: Salinum2:1211Études latines: Thaliarque2:3812Études latines: Lydé3:0913Études latines: Vile potabis1:4314Études latines: Tyndaris1:4315Études latines: Pholoé1:3516Études latines: Phydylé2:3517Études latines: Phyllis2:5318La Nymphe de la source3:1819Au rossignol2:1020Je me souviens4:0821Air de la lettre2:4022C’est très vilain d’être infidèle2:5823C’est sa banlieue3:0024Nous avons fait un beau voyage2:5825La Dernière Valse4:17La Belle Époque: The Songs of Reynaldo Hahn
1998 · studio album
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Tracklist · 24 tracks · 1:02:14
1À Chloris3:032Le Rossignol des lilas2:093L’Énamourée3:314Trois Jours de vendange3:505Lydé2:566Tyndaris1:507Phyllis3:108Les Fontaines2:169L’Automne1:3110Infidélité2:5711Dans la nuit1:2512D’une prison3:1513Quand la nuit n’est pas étoilée3:2614Fumée3:2015Le Printemps1:4716Je me souviens4:2417Quand je fus pris au pavillon1:1718Paysage2:2819Fêtes galantes2:0220Nocturne1:4921Mai2:0822L’Heure exquise2:2823Offrande2:5324Si mes vers avaient des ailes2:192001 · studio album
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Tracklist · 53 tracks · 2:12:50
Disc 11Le Rossignol éperdu : I. Première suite: I. Frontispice3:012Le Rossignol éperdu : I. Première suite: II. Andromède résignée1:453Le Rossignol éperdu : I. Première suite: III. Douloureuse rêverie dans un bois de sapins8:124Le Rossignol éperdu : I. Première suite: IV. Le bouquet de pensées1:125Le Rossignol éperdu : I. Première suite: V. Soleil d’automne1:536Le Rossignol éperdu : I. Première suite: VI. Gretchen2:457Le Rossignol éperdu : I. Première suite: VII. Les deux écharpes1:148Le Rossignol éperdu : I. Première suite: VIII. Liebe! Liebe!0:589Le Rossignol éperdu : I. Première suite: IX. Éros caché dans les bois2:0510Le Rossignol éperdu : I. Première suite: X. La fausse indifférence2:0211Le Rossignol éperdu : I. Première suite: XI. Chanson de midi1:2212Le Rossignol éperdu : I. Première suite: XII. Antiochus2:3313Le Rossignol éperdu : I. Première suite: XIII. Never More1:4314Le Rossignol éperdu : I. Première suite: XIV. Portrait0:3415Le Rossignol éperdu : I. Première suite: XV. L’enfant au perroquet1:3316Le Rossignol éperdu : I. Première suite: XVI. Les réveries du Prince Églantine2:1917Le Rossignol éperdu : I. Première suite: XVII. Ivresse1:5318Le Rossignol éperdu : I. Première suite: XVIII. L’arome suprême1:4219Le Rossignol éperdu : I. Première suite: XIX. Berceuse féroce4:0020Le Rossignol éperdu : I. Première suite: XX. Passante1:0021Le Rossignol éperdu : I. Première suite: XXI. La Danse de l’amour et de l’ennui2:4622Le Rossignol éperdu : I. Première suite: XXII. Ouranos3:1023Le Rossignol éperdu : I. Première suite: XXIII. Le Héliotropes du Clos‐André1:3824Le Rossignol éperdu : I. Première suite: XXIV. Effet de nuit sur la Seine1:3925Le Rossignol éperdu : I. Première suite: XXV. Per i piccoli canali5:5326Le Rossignol éperdu : I. Première suite: XXVI. Mirage1:2527Le Rossignol éperdu : I. Première suite: XXVII. La danse de l’amour et du danger3:0028Le Rossignol éperdu : I. Première suite: XXVIII. Matinée Parisienne3:2329Le Rossignol éperdu : I. Première suite: XXIX. Chérubin tragique1:5430Le Rossignol éperdu : I. Première suite: XXX. Le chênes enlacés3:08Disc 21Le Rossignol éperdu : II. Orient: I. En Caïque2:552Le Rossignol éperdu : II. Orient: II. Narghilé2:283Le Rossignol éperdu : II. Orient: III. Les chiens de Galata3:574Le Rossignol éperdu : II. Orient: IV. Rêverie nocturne sur le Bosphore3:105Le Rossignol éperdu : II. Orient: V. La Rose De Blida1:386Le Rossignol éperdu : II. Orient: VI. L’oasis1:357Le Rossignol éperdu : III. Carnet de voyage: I. L’ange verrier3:118Le Rossignol éperdu : III. Carnet de voyage: II. Le jardin de Pétrarque1:459Le Rossignol éperdu : III. Carnet de voyage: III. La Nativité4:0910Le Rossignol éperdu : III. Carnet de voyage: IV. Faunesse dansante1:2611Le Rossignol éperdu : III. Carnet de voyage: V. Les noces du Duc de Joyeuse2:5112Le Rossignol éperdu : III. Carnet de voyage: VI. Le petit Maij1:2813Le Rossignol éperdu : III. Carnet de voyage: VII. Les pages d’Elisabeth2:3714Le Rossignol éperdu : III. Carnet de voyage: VIII. La jeunesse et l’eté ornent de fleurs le tombeau de Pergolèse2:3715Le Rossignol éperdu : III. Carnet de voyage: IX. Vieux bahuts3:1516Le Rossignol éperdu : IV. Versailles: I. Hommage a Martius1:2717Le Rossignol éperdu : IV. Versailles: II. La Reine au jardin1:1518Le Rossignol éperdu : IV. Versailles: III. Le réveil de flore2:5019Le Rossignol éperdu : IV. Versailles: IV. Le banc songeur2:2820Le Rossignol éperdu : IV. Versailles: V. La fête de Terpsichore3:0221Le Rossignol éperdu : IV. Versailles: VI. Adieux au soir tombant2:2922Le Rossignol éperdu : IV. Versailles: VII. Hivernale3:3923Le Rossignol éperdu : IV. Versailles: VIII. Le Pèlerinage inutile4:562004 · studio album
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Tracklist · 11 tracks · 1:01:31
1Sonata in C major for Violin and Piano: I. Sans lenteur, tendrement8:112Sonata in C major for Violin and Piano: II. Véloce3:073Sonata in C major for Violin and Piano: III. Modéré, très à l’aise, au gré de l’interprète8:484Soliloque et Forlane7:425Nocturne in E-flat major5:306Romance in A major4:277Piano Quartet no. 3 in G major: I. Allegretto moderato7:078Piano Quartet no. 3 in G major: II. Allegro assai1:459Piano Quartet no. 3 in G major: III. Andante8:1310Piano Quartet no. 3 in G major: IV. Allegro assai4:4811Si mes vers avaient des ailes1:532012 · studio album
2014 · studio album
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Tracklist · 25 tracks · 1:09:19
13 Poèmes de Stéphane Mallarmé, M. 64: No. 1. Soupir3:2323 Poèmes de Stéphane Mallarmé, M. 64: No. 2. Placet futile3:4633 Poèmes de Stéphane Mallarmé, M. 64: No. 3. Surgi de la croupe et du bond3:014Aimons‐nous3:395L’Attente2:156La Coccinelle2:097Mélodies persanes, op. 26: No. 6. Tournoiement3:168Danse macabre2:329The Second Madrigal (Voices of Women): No. 1. Getting Up in Winter1:3710The Second Madrigal (Voices of Women): No. 2. In the Morning1:4711The Second Madrigal (Voices of Women): No. 3. Morning2:0412The Second Madrigal (Voices of Women): No. 4. When He Pressed His Lips2:5913The Second Madrigal (Voices of Women): No. 5. Thank You, My Fate2:4914The Second Madrigal (Voices of Women): No. 6. Cosmetics Do No Good4:1815The Second Madrigal (Voices of Women): No. 7. Hopelessness2:4916The Second Madrigal (Voices of Women): No. 8. The Greatest Love1:261720 Songs, Book 2: No. 11. Le Printemps2:151820 Songs, Book 2: No. 15. Le Rossignol des lilas2:001920 Songs, Book 2: No. 10. Fumée2:502020 Songs, Book 2: No. 12. Dans la nuit1:44217 Chansons grises: No. 5. L’Heure exquise2:2122Cabaret Songs: No. 4. Calypso2:2623Cabaret Songs: No. 3. Johnny4:3124Cabaret Songs: No. 1. Tell Me the Truth About Love4:5725Cabaret Songs: No. 2. Funeral Blues2:252014 · studio album
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Tracklist · 53 tracks · 2:10:55
Disc 11Le rossignol éperdu, Série 1 "Première suite": No. 1, Frontispice2:222Le rossignol éperdu, Série 1 "Première suite": No. 2, Andromède résignée2:083Le rossignol éperdu, Série 1 "Première suite": No. 3, Douloureuse rêverie dans un bois de sapins7:204Le rossignol éperdu, Série 1 "Première suite": No. 4, Le bouquet de pensées1:005Le rossignol éperdu, Série 1 "Première suite": No. 5, Soleil d'automne2:326Le rossignol éperdu, Série 1 "Première suite": No. 6, Gretchen3:077Le rossignol éperdu, Série 1 "Première suite": No. 7, Les deux écharpes1:408Le rossignol éperdu, Série 1 "Première suite": No. 8, Liebe! Liebe!0:549Le rossignol éperdu, Série 1 "Première suite": No. 9, Eros caché dans les bois2:5110Le rossignol éperdu, Série 1 "Première suite": No. 10, La fausse Indifférence1:4611Le rossignol éperdu, Série 1 "Première suite": No. 11, Chanson de midi1:2512Le rossignol éperdu, Série 1 "Première suite": No. 12, Antiochus2:0313Le rossignol éperdu, Série 1 "Première suite": No. 13, Nevermore1:0114Le rossignol éperdu, Série 1 "Première suite": No. 14, Portrait0:3815Le rossignol éperdu, Série 1 "Première suite": No. 15, L'enfant au perroquet1:4416Le rossignol éperdu, Série 1 "Première suite": No. 16, Les rêveries du Prince Eglantine2:3117Le rossignol éperdu, Série 1 "Première suite": No. 17, Ivresse1:3618Le rossignol éperdu, Série 1 "Première suite": No. 18, L'arôme suprême1:3019Le rossignol éperdu, Série 1 "Première suite": No. 19, Berceuse féroce4:3120Le rossignol éperdu, Série 1 "Première suite": No. 20, Passante1:0221Le rossignol éperdu, Série 1 "Première suite": No. 21, La danse de l'amour et de l'ennui3:1222Le rossignol éperdu, Série 1 "Première suite": No. 22, Ouranos3:1623Le rossignol éperdu, Série 1 "Première suite": No. 23, Les héliotropes du Clos-André1:2624Le rossignol éperdu, Série 1 "Première suite": No. 24, Effet de nuit sur la Seine1:5325Le rossignol éperdu, Série 1 "Première suite": No. 25, Per i piccoli canali6:0326Le rossignol éperdu, Série 1 "Première suite": No. 26, Mirage1:2927Le rossignol éperdu, Série 1 "Première suite": No. 27, La dance de l'amour et du danger2:4228Le rossignol éperdu, Série 1 "Première suite": No. 28, Matinée parisienne3:4129Le rossignol éperdu, Série 1 "Première suite": No. 29, Chérubin tragique2:2030Le rossignol éperdu, Série 1 "Première suite": No. 30, Les chênes enlacés3:40Disc 21Le rossignol éperdu, Série 2 "Orient": No. 31, En caïque2:552Le rossignol éperdu, Série 2 "Orient": No. 32, Narghilé2:363Le rossignol éperdu, Série 2 "Orient": No. 33, Les chiens de Galata2:454Le rossignol éperdu, Série 2 "Orient": No. 34, Rêverie nocturne sur le Bosphore3:115Le rossignol éperdu, Série 2 "Orient": No. 35, La rose de Blida1:336Le rossignol éperdu, Série 2 "Orient": No. 36, L'oasis1:417Le rossignol éperdu, Série 3 "Carnet de voyage": No. 37, L'ange verrier3:318Le rossignol éperdu, Série 3 "Carnet de voyage": No. 38, Le jardin de Pétrarque1:489Le rossignol éperdu, Série 3 "Carnet de voyage": No. 39, La Nativité3:2210Le rossignol éperdu, Série 3 "Carnet de voyage": No. 40, Faunesse dansante1:3611Le rossignol éperdu, Série 3 "Carnet de voyage": No. 41, Les noces du duc de Joyeuse2:5412Le rossignol éperdu, Série 3 "Carnet de voyage": No. 42, Le petit mail1:0513Le rossignol éperdu, Série 3 "Carnet de voyage": No. 43, Les pages d'Elisabeth3:0914Le rossignol éperdu, Série 3 "Carnet de voyage": No. 44, La jeunesse et l'été1:4215Le rossignol éperdu, Série 3 "Carnet de voyage": No. 45, Vieux bahuts2:5716Le rossignol éperdu, Série 4 "Versailles": No. 46, Hommage à Martius1:0917Le rossignol éperdu, Série 4 "Versailles": No. 47, La reine au jardin1:0718Le rossignol éperdu, Série 4 "Versailles": No. 48, Le réveil de flore3:3019Le rossignol éperdu, Série 4 "Versailles": No. 49, Le banc songeur1:5920Le rossignol éperdu, Série 4 "Versailles": No. 50, La fête de Terpsichore3:0721Le rossignol éperdu, Série 4 "Versailles": No. 51, Adieux au soir tombant2:1722Le rossignol éperdu, Série 4 "Versailles": No. 52, Hivernale3:4123Le rossignol éperdu, Série 4 "Versailles": No. 53, Pèlerinage inutile3:57Divertissement pour une fête de nuit / Le Bal de Beatrice d’Este / Sérénade / Concerto provençal
2015 · studio album
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Tracklist · 19 tracks · 1:10:23
1Le Bal de Béatrice d’Este: I. Entrée pour Ludovic le More1:332Le Bal de Béatrice d’Este: II. Lesquercade3:223Le Bal de Béatrice d’Este: III. Romanesque2:494Le Bal de Béatrice d’Este: IV. Ibérienne1:435Le Bal de Béatrice d’Este: V. Léda et l’oiseau1:516Le Bal de Béatrice d’Este: VI. Courante2:547Le Bal de Béatrice d’Este: VII. Salut final au duc de Milan0:508Concerto provençal (Version for Flute, Clarinet, Bassoon, Horn & Strings): I. Sous les platanes7:299Concerto provençal (Version for Flute, Clarinet, Bassoon, Horn & Strings): II. Sous les pins7:5510Concerto provençal (Version for Flute, Clarinet, Bassoon, Horn & Strings): III. Sous les oliviers6:5711Sérénade: I. Vif et gai3:0412Sérénade: II. Moderato quasi andantino3:5913Sérénade: III. Preste et léger3:3814Divertissement pour une fête de nuit: I. La Nuit – Le Parc1:5715Divertissement pour une fête de nuit: IIa. 3 Tableaux mimés. Haydn chez le prince Esterhazy2:1616Divertissement pour une fête de nuit: IIb. 3 Tableaux mimés. Adieu pour toujours2:2817Divertissement pour une fête de nuit: IIc. 3 Tableaux mimés. Le Jugement de Pâris2:2918Divertissement pour une fête de nuit: V. Canzone « Sur le lac »4:5419Divertissement pour une fête de nuit: VI. Lumières – Valse dans les jardins8:152015 · studio album
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Tracklist · 22 tracks · 1:04:15
1Six épigraphes antiques: Pour invoquer Pan, dieu du vent d’été2:132Six épigraphes antiques: Pour un tombeau sans nom3:013Six épigraphes antiques: Pour que la nuit soit propice1:594Six épigraphes antiques: Pour la danseuse aux crotales2:075Six épigraphes antiques: Pour l’Egyptienne2:306Six épigraphes antiques: Pour remercier la pluie au matin2:027Le ruban dénoué: Décrets indolents du hasard1:238Le ruban dénoué: Les soirs d’albi2:369Le ruban dénoué: Souvenir…avenir…2:3610Le ruban dénoué: Danse de l’amour et du chagrin - Le demi-sommeil embaumé5:5511Le ruban dénoué: L’anneau perdu1:3612Le ruban dénoué: Danse du doute et de l’espérance1:4113Le ruban dénoué: La cage ouverte1:5914Le ruban dénoué: Soir d’orage2:1715Le ruban dénoué: Les baisers - Il sorriso5:0016Le ruban dénoué: Le seul amour5:2217En blanc et noir: Avec emportement4:1918En blanc et noir: Lent. Sombre - Sourdement tumultueux7:1819En blanc et noir: Scherzando3:5420Pour bercer un convalescent: Andantino sans lenteur1:2821Pour bercer un convalescent: Andantino non lento1:4622Pour bercer un convalescent: Andantino espressivo1:13Violin Concerto in D major / Violin Sonata in C major
2016 · studio album
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Tracklist · 8 tracks · 1:05:10
1Violin Concerto in D major: I. Décidé11:582Violin Concerto in D major: II. Chant d’amour11:053Violin Concerto in D major: III. Lent – Vif et léger6:374Romance in A major5:175Nocturne in E‐flat major7:276Violin Sonata in C major: I. Sans lenteur, tendrement9:177Violin Sonata in C major: II. Véloce2:478Violin Sonata in C major: III. Modéré, très à l’aise, au gré de l’interprète10:422017 · studio album
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Tracklist · 21 tracks · 46:06
1Rêverie2:042Chanson Grises: Chanson d’automne1:323Chanson Grises: Tous deux1:434Chanson Grises: L’Allée est sans fin2:005Chanson Grises: En Sourdine2:536Chanson Grises: L’heure exquise2:267Chanson Grises: Paysage triste2:488Chanson Grises: La bonne chanson1:499Trois jours de vendange3:0510Études Latines: Lydé2:4811Études Latines: Pholoé1:5712L’incrédule1:5513Nocturne2:3714Dans la nuit1:2515La chère blessure2:3716Love Without Wings: Ah! Could I clasp thee in mine arms1:4317Love Without Wings: The fallen oak1:1718Love Without Wings: I know you love me not1:2119L’énamourée3:0520À Chloris2:5221Fêtes Galantes2:09Belle Epoque – Complete Works for Two Pianos & Piano Duet
2017 · studio album
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Tracklist · 30 tracks · 1:36:35
Disc 11Le ruban dénoué, I. Décrets indolents du hasard1:552Le ruban dénoué, II. Les soirs d'Albi2:383Le ruban dénoué, III. Souvenir... avenir...2:514Le ruban dénoué, IV. Danse de l'amour et du chagrin1:535Le ruban dénoué, V. Le demi-sommeil embaumé7:116Le ruban dénoué, VI. L'anneau perdu2:117Le ruban dénoué, VII. Danse du doute et de l'espérance2:028Le ruban dénoué, VIII. La cage ouverte2:319Le ruban dénoué, IX. Soir d'orage2:1710Le ruban dénoué, X. Les baisers3:1511Le ruban dénoué, XI. Il sorriso3:1912Le ruban dénoué, XII. Le seul amour7:0413Pour bercer un convalescent, I. Andantino sans lenteur1:5114Pour bercer un convalescent, II. Andantino non mosso2:0715Pour bercer un convalescent, III. Andantino espressivo1:3916Caprice mélancolique pour deux pianos4:2417Scherzo lent pour deux pianos5:27Disc 21Pièce en forme d’aria et bergerie4:042Berceuses pour piano à quatre mains, I. Berceuse des jours sans nuages0:563Berceuses pour piano à quatre mains, II. Berceuse pour la veille de Noël2:154Berceuses pour piano à quatre mains, III. Berceuse pour les enfants de marins1:035Berceuses pour piano à quatre mains, IV. Berceuse des soirs d'automne1:446Berceuses pour piano à quatre mains, V. "Selfiana", berceuse créole1:367Berceuses pour piano à quatre mains, VI. Berceuse pensive1:298Berceuses pour piano à quatre mains, VII. Berceuse tendre1:349Variations puériles pour piano à quatre mains sur une mélodie de Carl Reinecke6:1110Trois Préludes pour piano à quatre mains sur des airs populaires irlandais, I. The little red lark2:0511Trois Préludes pour piano à quatre mains sur des airs populaires irlandais, II. My love's an arbutus2:0312Trois Préludes pour piano à quatre mains sur des airs populaires irlandais, III. The willow tree1:3313Variations pour piano à quatre mains sur un thème de Charles Levadé15:272017 · studio album
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Tracklist · 12 tracks · 1:05:38
1Sonate pour violon et piano en ré mineur, op. 36 : I. Allegretto9:062Sonate pour violon et piano en ré mineur, op. 36 : II. Allegretto tranquillo5:383Sonate pour violon et piano en ré mineur, op. 36 : III. Andante non troppo – Allegretto un poco agitato8:304À Chloris3:235Sonate pour violon et piano no. 1 en ré mineur, op. 75 : I. Allegro agitato6:416Sonate pour violon et piano no. 1 en ré mineur, op. 75 : II. Adagio5:467Sonate pour violon et piano no. 1 en ré mineur, op. 75 : III. Allegro moderato3:598Sonate pour violon et piano no. 1 en ré mineur, op. 75 : IV. Allegro molto6:049L’Heure exquise2:3610Sonate pour violon et piano : I. Allegro vivo4:5311Sonate pour violon et piano : II. Intermède : fantasque et léger4:2412Sonate pour violon et piano : III. Finale : très animé4:382018 · studio album
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Tracklist · 11 tracks · 1:11:08
1Piano Quartet no. 3 in G major: I. Allegro moderato7:262Piano Quartet no. 3 in G major: II. Allegro assai2:113Piano Quartet no. 3 in G major: III. Andante9:484Piano Quartet no. 3 in G major: IV. Allegro assai4:505À Chloris3:036Vocalise-Étude3:477Si mes vers avaient des ailes2:228Nocturne in E-flat major7:029Piano Quintet in F-sharp minor: I. Molto agitato e con fuoco12:3810Piano Quintet in F-sharp minor: II. Andante, non troppo lento10:2811Piano Quintet in F-sharp minor: III. Allegretto grazioso7:332019 · studio album
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Tracklist · 53 tracks · 2:08:12
Disc 11Le rossignol éperdu, Série 1 "Première suite": No. 1, Frontispice3:052Le rossignol éperdu, Série 1 "Première suite": No. 2, Andromède résignée1:543Le rossignol éperdu, Série 1 "Première suite": No. 3, Douloureuse rêverie dans un bois de sapins7:414Le rossignol éperdu, Série 1 "Première suite": No. 4, Le bouquet de pensées1:075Le rossignol éperdu, Série 1 "Première suite": No. 5, Soleil d'automne2:216Le rossignol éperdu, Série 1 "Première suite": No. 6, Gretchen2:277Le rossignol éperdu, Série 1 "Première suite": No. 7, Les deux écharpes1:178Le rossignol éperdu, Série 1 "Première suite": No. 8, Liebe! Liebe!0:559Le rossignol éperdu, Série 1 "Première suite": No. 9, Eros caché dans les bois2:0910Le rossignol éperdu, Série 1 "Première suite": No. 10, La fausse indifférence1:5611Le rossignol éperdu, Série 1 "Première suite": No. 11, Chanson de midi1:2512Le rossignol éperdu, Série 1 "Première suite": No. 12, Antiochus3:1313Le rossignol éperdu, Série 1 "Première suite": No. 13, Nevermore1:2914Le rossignol éperdu, Série 1 "Première suite": No. 14, Portrait0:3515Le rossignol éperdu, Série 1 "Première suite": No. 15, L'enfant au perroquet1:4216Le rossignol éperdu, Série 1 "Première suite": No. 16, Les rêveries du Prince Eglantine1:5817Le rossignol éperdu, Série 1 "Première suite": No. 17, Ivresse1:3718Le rossignol éperdu, Série 1 "Première suite": No. 18, L'arome suprême1:2119Le rossignol éperdu, Série 1 "Première suite": No. 19, Berceuse féroce3:3820Le rossignol éperdu, Série 1 "Première suite": No. 20, Passante1:0721Le rossignol éperdu, Série 1 "Première suite": No. 21, La danse de l'amour et de l'ennui3:0322Le rossignol éperdu, Série 1 "Première suite": No. 22, Ouranos2:3923Le rossignol éperdu, Série 1 "Première suite": No. 23, Les héliotropes du Clos-André1:3624Le rossignol éperdu, Série 1 "Première suite": No. 24, Effet de nuit sur la Seine1:1925Le rossignol éperdu, Série 1 "Première suite": No. 25, Per i piccoli canali5:5326Le rossignol éperdu, Série 1 "Première suite": No. 26, Mirage1:1827Le rossignol éperdu, Série 1 "Première suite": No. 27, La danse de l'amour et du danger2:5228Le rossignol éperdu, Série 1 "Première suite": No. 28, Matinée parisienne3:0329Le rossignol éperdu, Série 1 "Première suite": No. 29, Chérubin tragique2:0530Le rossignol éperdu, Série 1 "Première suite": No. 30, Les chênes enlacés3:38Disc 21Le rossignol éperdu, Série 2 "Orient": No. 31, En caïque2:392Le rossignol éperdu, Série 2 "Orient": No. 32, Narghilé3:073Le rossignol éperdu, Série 2 "Orient": No. 33, Les chiens de Galata3:134Le rossignol éperdu, Série 2 "Orient": No. 34, Rêverie nocturne sur le Bosphore3:275Le rossignol éperdu, Série 2 "Orient": No. 35, La rose de Blida1:446Le rossignol éperdu, Série 2 "Orient": No. 36, L’oasis1:437Le rossignol éperdu, Série 3 "Carnet de voyage": No. 37, L’ange verrier2:528Le rossignol éperdu, Série 3 "Carnet de voyage": No. 38, Le jardin de Pétrarque1:199Le rossignol éperdu, Série 3 "Carnet de voyage": No. 39, La nativité3:2010Le rossignol éperdu, Série 3 "Carnet de voyage": No. 40, Faunesse dansante1:2111Le rossignol éperdu, Série 3 "Carnet de voyage": No. 41, Les noces du duc de Joyeuse2:3012Le rossignol éperdu, Série 3 "Carnet de voyage": No. 42, Le petit mail1:2413Le rossignol éperdu, Série 3 "Carnet de voyage": No. 43, Les pages d’Elisabeth2:3414Le rossignol éperdu, Série 3 "Carnet de voyage": No. 44, La jeunesse et l’été1:3615Le rossignol éperdu, Série 3 "Carnet de voyage": No. 45, Vieux bahuts3:1716Le rossignol éperdu, Série 4 "Versailles": No. 46, Hommage à Martius1:0617Le rossignol éperdu, Série 4 "Versailles": No. 47, La reine au jardin1:1418Le rossignol éperdu, Série 4 "Versailles": No. 48, Le réveil de flore3:1319Le rossignol éperdu, Série 4 "Versailles": No. 49, Le banc songeur2:2320Le rossignol éperdu, Série 4 "Versailles": No. 50, La fête de Terpsichore2:3821Le rossignol éperdu, Série 4 "Versailles": No. 51, Adieux au soir tombant2:3522Le rossignol éperdu, Série 4 "Versailles": No. 52, Hivernale4:1023Le rossignol éperdu, Série 4 "Versailles": No. 53, Pélerinage inutile4:242019 · studio album
2020 · studio album
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Tracklist · 19 tracks · 1:00:27
1L’Île du rêve, Acte 1: I. Scène. « Ô pays de Bora‐Bora »3:312L’Île du rêve, Acte 1: II. Scène. « Quel est ce bruit ? Alerte! »0:303L’Île du rêve, Acte 1: III. Scène. « Ô belle enfant, vers qui montent mes plaintes »1:314L’Île du rêve, Acte 1: IV. Scène. « Amis, voilà le salon de l’île du rêve »2:525L’Île du rêve, Acte 1: V. Scène. « Que ton chagrin soit bercé par nos chants! »3:276L’Île du rêve, Acte 1: VI. Duo. « Enfant, demeure »4:397L’Île du rêve, Acte 1: VII. « Restons encore, les paupières mi‐closes »3:328L’Île du rêve, Acte 2: I. Prélude3:319L’Île du rêve, Acte 2: II. Scène. « Or, Adam que venait de bercer un long rêve »5:4310L’Île du rêve, Acte 2: III. Scène. « Trêve de paroles! »1:4011L’Île du rêve, Acte 2: IV. Scène. « Cherche à qui cet homme ressemble »4:0212L’Île du rêve, Acte 2: V. Duo. « Jalouse! … »4:0413L’Île du rêve, Acte 3: I. Prélude et chœur « Tihi ’ura teie »3:3114L’Île du rêve, Acte 3: II. Scène. « Hélas! Nous te quittons demain »2:0815L’Île du rêve, Acte 3: III. Scène. « J’ai tressé pour ma couronne »1:3916L’Île du rêve, Acte 3: IV. Arioso. « Ne plus te voir, ô ma petite case »1:4717L’Île du rêve, Acte 3: V. Scène. « La princesse! »1:3918L’Île du rêve, Acte 3: VI. Duo. « C’est moi, chère petite »5:2419L’Île du rêve, Acte 3: VII. Scène. « Non, Mahénu… »5:172020 · studio album
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Tracklist · 15 tracks · 1:22:04
1Quatuor à cordes no. 1 in A-sharp minor: I. Andante molto moderato8:182Quatuor à cordes no. 1 in A-sharp minor: II. Récit et chanson de provence2:053Quatuor à cordes no. 1 in A-sharp minor: III. Andantino3:564Quatuor à cordes no. 1 in A-sharp minor: IV. Allegro assai3:525Romance pour violon et piano in A-sharp major5:236Quatuor à cordes no. 2 in F-sharp major: I. Animé7:347Quatuor à cordes no. 2 in F-sharp major: II. Très mouvementé2:208Quatuor à cordes no. 2 in F-sharp major: III. Posément. Très modéré8:229Quatuor à cordes no. 2 in F-sharp major: IV. Très vite, à un temps5:5610Variations chantantes sur un air ancien, pour violoncelle et piano in D-sharp major4:4211Deux improvisations sur des airs irlandais pour violoncelle et piano in G-sharp major: No. 1. The Little Red-Lark1:2912Deux improvisations sur des airs irlandais pour violoncelle et piano in C-sharp minor: No. 2. The Willow-Tree2:0013Quintette pour piano et cordes in F-sharp minor: I. Molto agitato e con fuoco11:3314Quintette pour piano et cordes in F-sharp minor: II. Andante. Non troppo lento7:4615Quintette pour piano et cordes in F-sharp minor: III. Allegretto grazioso6:482021 · studio album
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Tracklist · 28 tracks · 59:30
1Ô mon bel inconnu: Acte I. I. Ouverture2:162Ô mon bel inconnu: Acte I. II. Air « Miel, sel, thé… »2:193Ô mon bel inconnu: Acte I. III. Ensemble « Cette fille n’a pas menti »3:214Ô mon bel inconnu: Acte I. IV. Couplet « Allons, Monsieur, laissez‐moi faire »2:235Ô mon bel inconnu: Acte I. V. Duo « Mais ! vous m’avez pincé le derrière ! »1:326Ô mon bel inconnu: Acte I. VI. Air « Je suis celle que vous cherchez »4:187Ô mon bel inconnu: Acte II, Premier tableau. I. Entracte2:298Ô mon bel inconnu: Acte II, Premier tableau. II. Lever de rideau0:349Ô mon bel inconnu: Acte II, Premier tableau. III. Strophes « C’est très vilain d’être infidèle »3:2410Ô mon bel inconnu: Acte II, Premier tableau. IV. Air « Au lieu, vois‐tu, de les confondre »4:0511Ô mon bel inconnu: Acte II, Premier tableau. V. Couplets « Je veux d’abord un chapeau beige »3:0912Ô mon bel inconnu: Acte II, Premier tableau. VI. Duetto « Allons, Monsieur, veuillez finir !… »1:1313Ô mon bel inconnu: Acte II, Premier tableau. VII. Couplets « J’connais l’rayon d’la bonn’t’rie »1:2914Ô mon bel inconnu: Acte II, Second tableau. I. Intermède1:3915Ô mon bel inconnu: Acte II, Second tableau. II. Trio « Ô mon bel inconnu »3:3316Ô mon bel inconnu: Acte II, Second tableau. III. Air du coup de téléphone « Eh ! bien mettez d’abord un A »1:1117Ô mon bel inconnu: Acte II, Second tableau. IV. Finale « Partons ! »2:5418Ô mon bel inconnu: Acte III. I. Entracte1:3119Ô mon bel inconnu: Acte III. II. Couplets « Monsieur, c’est la maison rêvée »1:5420Ô mon bel inconnu: Acte III. III. Entrée d’Antoinette0:4721Ô mon bel inconnu: Acte III. IV. Entrée de Félicie0:3522Ô mon bel inconnu: Acte III. V. Chanson à deux voix « Qu’est‐c’qu’il faut pour être heureux ? »1:0123Ô mon bel inconnu: Acte III. VI. Entrée de Marie‐Anne0:3624Ô mon bel inconnu: Acte III. VII. Colloque « Le mariage ! Ah ! ben, voyons »1:3725Ô mon bel inconnu: Acte III. VIII. Couplets « Est‐c’qu’il est mal ? »2:1626Ô mon bel inconnu: Acte III. IX. Entrée de Claude0:3127Ô mon bel inconnu: Acte III. X. Dialogue « Mais oui, se taire »1:3928Ô mon bel inconnu: Acte III. XI. Air et ensemble « À ma naissance »5:142021 · studio album
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Tracklist · 27 tracks · 1:03:24
1Trois mélodies de Verlaine, L. 81: I. La mer est plus belle que les cathédrales2:112Trois mélodies de Verlaine, L. 81: II. Le son du cor s'afflige vers les bois3:073Trois mélodies de Verlaine, L. 81: III. L'echelonnement des haies1:124Mandoline1:225Cinq mélodies de Venise, Op. 58: I. Mandoline1:526Cinq mélodies de Venise, Op. 58: II. En sourdine3:157Cinq mélodies de Venise, Op. 58: III. Green1:348Cinq mélodies de Venise, Op. 58: IV. A Clymène2:359Cinq mélodies de Venise, Op. 58: V. C'est l'extase2:5210Deux mélodies, Op. 46: II. Clair de lune2:5211Chanson grises: I. Chanson d'automne1:5212Chanson grises: II. Tous deux1:3513Chanson grises: III. L'allée est sans fin1:4914Chanson grises: IV. En sourdine2:5615Chanson grises: V. L'heure exquise2:1816Chanson grises: VI. Paysage triste2:2917Chanson grises: VII. La bonne chanson1:2418Suite Bergamasque, L. 75: III. Clair de lune5:0219La bonne chanson, Op. 61: I. Une Sainte en son auréole2:1120La bonne chanson, Op. 61: II. Puisque l'aube grandit2:0121La bonne chanson, Op. 61: III. La lune blanche luit dans les bois2:2622La bonne chanson, Op. 61: IV. J'allais par des chemins perfides1:4623La bonne chanson, Op. 61: V. J'ai presque peur, en vérité2:1124La bonne chanson, Op. 61: VI. Avant que tu ne t'en ailles2:3725La bonne chanson, Op. 61: VII. Donc, ce sera par un clair jour d'été2:2226La bonne chanson, Op. 61: VIII. N'est-ce pas?2:3027La bonne chanson, Op. 61: IX. L'hiver a cessé3:032022 · studio album
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Tracklist · 18 tracks · 55:48
1Salut printemps, L. 24 (Arr. M. Gaillard for Women's Choir & Piano)5:212La Damoiselle élue, L. 62: Prélude3:533La Damoiselle élue, L. 62: La damoiselle élue s'appuyait4:544La Damoiselle élue, L. 62: Je voudrais qu'il fut déjà près de moi7:355La Damoiselle élue, L. 62: La lumière tressaillit de son côté3:306Les Angélus, L. 76 (Transcr. C. Gottwald for Women's Choir)2:547Ariettes oubliées, L. 60: No. 3, L'ombre des arbres2:1687 Chansons grises: No. 6, Paysage triste2:229Études latines: No. 1, Lydie2:1810Études latines: No. 2, Néère3:0811Études latines: No. 3, Salinum2:0312Études latines: No. 4, Thaliarque2:1713Études latines: No. 5, Lydé2:5314Études latines: No. 6, Vile potabis1:2215Études latines: No. 7, Tyndaris1:2916Études latines: No. 8, Pholoé1:4517Études latines: No. 9, Phidylé2:3418Études latines: No. 10, Phyllis3:142022 · studio album
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Tracklist · 25 tracks · 1:11:15
1Le rossignol éperdu : No. 1. Frontispice3:072Le rossignol éperdu : No. 2. Andromède résignée2:123Le rossignol éperdu : No. 20. Passante1:164Le rossignol éperdu : No. 8. Liebe ! Liebe !0:585Le rossignol éperdu : No. 7. Les deux écharpes1:476Le rossignol éperdu : No. 21. La danse de l’amour et de l’ennui4:547Le rossignol éperdu : No. 29. Chérubin tragique1:378Le rossignol éperdu : No. 16. Les rêveries du prince églantine3:209Le rossignol éperdu : No. 50. La fête de terpsichore2:3010Premières valses : No. 1. Avec élégance1:1511Premières valses : No. 3. Ninette0:4812Premières valses : No. 4. Valse noble1:1713Premières valses : No. 6. Assez vite1:3414Premières valses : No. 9. La feuille2:4115Premières valses : No. 10. Sans rigueur4:1716Le rossignol éperdu : No. 9. Éros caché dans les bois3:5917Le rossignol éperdu : No. 41. Les noces du duc de joyeuse2:1918Le rossignol éperdu : No. 32. Narghilé4:0119Le rossignol éperdu : No. 53. Le pèlerinage inutile4:2920Le rossignol éperdu : No. 19. Berceuse féroce2:5921Le rossignol éperdu : No. 5. Soleil d’automne4:0522Le rossignol éperdu : No. 52. Hivernale5:1623Le rossignol éperdu : No. 38. Le jardin de pétrarque2:4124Le rossignol éperdu : No. 48. Le réveil de flore2:3925Le rossignol éperdu : No. 22. Ouranos5:142022 · studio album
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Tracklist · 13 tracks · 53:24
1Romance du soir, op. 1184:012Calme des nuits, op. 68 no. 14:563Les fleurs et les arbres, op. 68 no. 22:004Des pas dans l’allée, op. 141 no. 15:595Saltarelle, op. 745:266Chansons et madrigaux: Vivons, mignarde !1:437Chansons et madrigaux: Pleurez avec moi !3:428Chansons et madrigaux: Les Fourriers d’été1:259L’obscurité2:3910À la lumière10:2011Rondels: Le Jour, no. 13:5712Rondels: La Nuit, no. 112:4413Aubade athénienne4:322022 · studio album
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Tracklist · 12 tracks · 58:39
1Sonate (troisième) pour violon et piano, CD 148, L. 140: I. Allegro vivo4:372Sonate (troisième) pour violon et piano, CD 148, L. 140: II. Intermède. Fantasque et léger4:063Sonate (troisième) pour violon et piano, CD 148, L. 140: III. Finale. Très animé4:234Sonate in C Major pour violon et piano: I. Sans lenteur, tendrement10:265Sonate in C Major pour violon et piano: II. Véloce3:156Sonate in C Major pour violon et piano: III. Modéré, très à l’aise, au gré de l’interprète11:397Duo concertant pour violon et piano: I. Cantilène3:028Duo concertant pour violon et piano: II. Églogue I2:169Duo concertant pour violon et piano: III. Églogue II3:3810Duo concertant pour violon et piano: IV. Gigue4:3111Duo concertant pour violon et piano: V. Dithyrambe3:3712Tango3:09Mozart. Comédie musicale en trois actes
2023 · studio album
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Tracklist · 22 tracks · 1:18:25
1Mozart : Ouverture4:062Mozart : Acte I. Dialogue6:263Mozart : Acte I. « Je me suis longtemps souvenu » (Baron de Grimm)1:044Mozart : Acte I. Dialogue4:485Mozart : Acte I. « Comme c’est facile » (Mozart)3:446Mozart : Acte I. Dialogue2:197Mozart : Acte I. « Être adoré » (Mozart)4:248Mozart : Acte II. Introduction « Quand on pense » (Mozart)1:529Mozart : Acte II. Dialogue1:1210Mozart : Acte II. « Madame n’est pas là ? » (Grimaud, Louise, Mozart)0:5711Mozart : Acte II. Dialogue12:1112Mozart : Acte II. « Comme elle danse » (Mozart)7:5513Mozart : Acte II. Dialogue0:2314Mozart : Acte II. « Depuis ton départ, mon amour » (Mozart)2:2315Mozart : Acte III. Introduction1:3516Mozart : Acte III. « Je t’y prendrais donc toujours » (Grimaud, Louise)1:3317Mozart : Acte III. Dialogue5:5918Mozart : Acte III. « La verité » (Mme d’Épigny)1:2819Mozart : Acte III. Dialogue5:1020Mozart : Acte III. Mélodrame (Grimaud, Mozart, La Guimard)2:0421Mozart : Acte III. Dialogue2:4622Mozart : Acte III. « Alors adieu donc » (Mozart)4:062023 · studio album
Piano Quintet / Songs / Piano Quartet
2025 · studio album
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Tracklist · 13 tracks · 1:09:53
120 Mélodies, Book 2: No. 14. À Chloris3:22212 Rondels: No. 8. Quand je fus pris au pavillon1:153Piano Quintet in F‐sharp minor: I. Molto agitato e con fuoco12:134Piano Quintet in F‐sharp minor: II. Andante (non troppo lento)9:225Piano Quintet in F‐sharp minor: III. Allegretto grazioso7:08620 Mélodies, Book 2: No. 15. Le Rossignol des lilas2:2577 Chansons grises: No. 1. Chanson d’automne1:44820 Mélodies, Book 1: No. 5. L’Énamourée3:479Piano Quartet in G major: I. Allegretto moderato7:5510Piano Quartet in G major: II. Serenade. Allegro assai2:2011Piano Quartet in G major: III. Andante9:1612Piano Quartet in G major: IV. Allegro assai5:2213Venezia: No. 2. La barcheta3:44
Single · 1
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 2020 | À ChlorisSearch SpotifySearch YouTube MusicTracklist · 1 track · 2:501À Chloris (Transc. for Oboe and Piano)2:50 | 10 July 2020 |
Album · 1
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 2025 | Le Dieu BleuSearch SpotifySearch YouTube MusicTracklist · 16 tracks · 46:501Le Dieu bleu: Prélude2:58 2Le Dieu bleu: Première Danse3:35 3Le Dieu bleu: Danse des Porteuses d’offrandes et des Musiciennes1:33 4Le Dieu bleu: Danse des Bayadères du Lotus3:13 5Le Dieu bleu: Danse des Yoghis3:28 6Le Dieu bleu: Scène de la jeune fille1:58 7Le Dieu bleu: Danse des Souvenirs3:02 8Le Dieu bleu: Colère des Prêtres2:26 9Le Dieu bleu: Clair de lune3:08 10Le Dieu bleu: Monstres et Démons1:38 11Le Dieu bleu: Le Miracle1:37 12Le Dieu bleu: La Déesse paraît2:15 13Le Dieu bleu: Le Dieu bleu. Danse et scène5:40 14Le Dieu bleu: L’Enchantement divin4:05 15Le Dieu bleu: Les amants se réunissent. Danse et scène2:15 16Le Dieu bleu: L’Escalier d’or et la Montée du Dieu3:59 | Live | 11 April 2025 |
Stats & PK
Percentile within all 23,672 published artists.Put Reynaldo Hahn head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 28 | 89th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 32 | 90.9th |
| Studio albums | 30 | 98.2th |
| Awards recorded | 1 | 89th |
| Timeline events | 33 | 97.3th |
| Recording span (years) | -41 | 7.1th |
| Genres | 5 | 88.3th |
Awards & honours
| Year | Award | Category | Result |
|---|---|---|---|
| — | Commander of the Legion of Honour | won |
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Reynaldo_Hahn.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/3a74cdd4-0188-454b-b19f-48abae350e2ddiscography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/3a74cdd4-0188-454b-b19f-48abae350e2dcore—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q432938genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q432938seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Reynaldo_Hahnbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Reynaldo_Hahn
Why this artist is in the database
- List of composers by name
Tier rule: notable long tail (listeners 0, 28 language versions)
Image: Paul Nadar · Public domain · Wikimedia Commons
Wikidata: Q432938 · MusicBrainz: 3a74cdd4-0188-454b-b19f-48abae350e2d
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Sweden · Person
opera
1 shared genre tag · debut 1988, same year
24 wikis
Michael William Balfe
United Kingdom of Great Britain and Ireland · Person
opera
1 shared genre tag · debut 1991, 3 years apart
32 wikis
Granville Bantock
United Kingdom · Person
opera
1 shared genre tag · debut 1991, 3 years apart
22 wikis
Johann Friedrich Agricola
Duchy of Saxe-Gotha-Altenburg · Person
opera
1 shared genre tag · debut 1989, 1 year apart
21 wikis
Tadeusz Baird
Poland · Person
opera
1 shared genre tag · debut 1989, 1 year apart
20 wikis
Anton Arensky
Russian Empire · Person
opera
1 shared genre tag · debut 1986, 2 years apart
38 wikis
Kalevi Aho
Finland · Person
opera
1 shared genre tag · debut 1989, 1 year apart
18 wikis