Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2014 | 01 | The Bon Vivant | 20141229 | 20151109 (R3) | Donald Macleod explores the engaging personality and music of Emmanuel Chabrier, a man whose reputation has come to rest on a handful of hits, yet whose originality is acknowledged by some of the leading voices of French music in the twentieth century, among them Debussy and Ravel. Chabrier must surely be one of the most likeable fellows to have graced this earth. It seems no-one had a bad word to say about him. His wide circle of friends included all the leading musicians, writers, poets and painters of the day. Chabrier owned a remarkable collection of impressionist paintings including several by Manet, who produced the best known portrait of the composer. Emmanuel Chabrier's life slots into a fascinating point in French musical history. When he was born in 1841, Berlioz was already thirty-eight and famous, Saint-Sa뀀ns was six, while the rising stars of the future, Massenet and Faur退, were not yet born. Despite Wagner's dominance, and indeed Chabrier's own reverence for the German composer, Chabrier's music retains a staunchly Gallic individuality, with critics subsequently paying tribute to him as a 'direct forerunner of the modern school.' The reason for this may well relate, at least in part, to his studies. Chabrier was largely self-taught, and although he was better educated than most musical amateurs, he never followed the accepted route into the Paris Conservatoire or a similar institute. He trained first in law, only taking up full time composition in his thirties. In the first of the series, Donald Macleod traces Chabrier's roots from a childhood spent in provincial Auvergne to the salons of Paris, where his engaging personality charmed all the leading artists of the day, eventually leading to success with a sparkling confection for stage, l'ɀtoile. Joyeuse marche Orchestre Philharmonique de Monte-Carlo Herv退 Niquet, conductor Duo de la chartreuse vert (Act 3, l'ɀtoile) Georges Gautier, tenor, Le roi Ouf Gabriel Bacquier, bass, Siroco Lyons Opera Orchestra John Eliot Gardiner, conductor Bourr退e fantasque Allan Schiller, piano L'退ducation manqu退e (excerpt) Jean-Louis Georgel, baritone, Pausanias Mireille Delunsch, soprano, Gontran Brigitte Desnoues, soprano, H退l耀ne Orchestra du Collegium Musicum de Strasbourg Roger Delage, director Larghetto for horn & orchestra Pierre Del Vescovo, horn Capitole Toulouse Orchestra Michel Plasson, conductor L'ɀtoile (Act 1, excerpt) O petite 退toile.....Je suis Lazuli! Colette Alliot-Lugaz, soprano, Lazuli, Magali Damonte, mezzo, Alo耀s Ghislaine Raphanel, soprano, La Princesse Laoula John Eliot Gardiner, conductor. Donald Macleod traces Chabrier's roots from a childhood in Auvergne to the salons of Paris |
| 2014 | 02 | The Civil Servant | 20141230 | 20151110 (R3) | Emmanuel Chabrier's 'road to Damascus' encounter with Wagner inspires him to write a grand opera, Gwendoline. Chabrier must surely be one of the most likeable fellows to have graced this earth. It seems no-one had a bad word to say about him. His wide circle of friends included all the leading musicians, writers, poets and painters of the day. Chabrier owned a remarkable collection of impressionist paintings including several by Manet, who produced the best known portrait of the composer. Emmanuel Chabrier's life slots into a fascinating point in French musical history. When he was born in 1841, Berlioz was already thirty-eight and famous, Saint-Sa뀀ns was six, while the rising stars of the future, Massenet and Faur退, were not yet born. Despite Wagner's dominance, and indeed Chabrier's own reverence for the German composer, Chabrier's music retains a staunchly Gallic individuality, with critics subsequently paying tribute to him as a 'direct forerunner of the modern school.' The reason for this may well relate, at least in part, to his studies. Chabrier was largely self-taught, and although he was better educated than most musical amateurs, he never followed the accepted route into the Paris Conservatoire or a similar institute. He trained first in law, only taking up full time composition in his thirties. Today Donald Macleod follows Chabrier to Germany, where hearing Wagner's Tristan und Isolde creates a profound impression. He finally decides to abandon his career as a civil servant in favour of becoming a full-time composer. For the next six years Chabrier toils over creating his own grand opera, Gwendoline. Overture to l'ɀtoile Lyons Opera Orchestra John Eliot Gardiner, conductor Impromptu Kathryn Stott, piano Lied Stephen Varcoe, baritone Graham Johnson, piano Gwendoline (Act 2, excerpt) Didier Henry, baritone, Harald Adrian Kohútkovက, soprano, Gwendoline G退rard Garino, tenor, Armel Slovak Philharmonic Orchestra & Chorus Czech Philharmonic Chorus of Brno Jean-Paul Penin, conductor Pieces pittoresques, Nos 1, 2, 3 & 5 (Paysage; M退lancolie; Tourbillon, Mauresque, Menuet Pompeux) Kathryn Stott, piano. Donald Macleod focuses on how Wagner's music inspired Chabrier's opera Gwendoline. |
| 2014 | 03 | The Apprentice | 20141231 | 20151111 (R3) | The Chabriers take a trip to Spain where the dances and rhythms fascinate Emmanuel, inspiring him to write his biggest ever hit, Espana. Chabrier must surely be one of the most likeable fellows to have graced this earth. It seems no-one had a bad word to say about him. His wide circle of friends included all the leading musicians, writers, poets and painters of the day. Chabrier owned a remarkable collection of impressionist paintings including several by Manet, who produced the best known portrait of the composer. Emmanuel Chabrier's life slots into a fascinating point in French musical history. When he was born in 1841, Berlioz was already thirty-eight and famous, Saint-Sa뀀ns was six, while the rising stars of the future, Massenet and Faur退, were not yet born. Despite Wagner's dominance, and indeed Chabrier's own reverence for the German composer, Chabrier's music retains a staunchly Gallic individuality, with critics subsequently paying tribute to him as a 'direct forerunner of the modern school.' The reason for this may well relate, at least in part, to his studies. Chabrier was largely self-taught, and although he was better educated than most musical amateurs, he never followed the accepted route into the Paris Conservatoire or a similar institute. He trained first in law, only taking up full time composition in his thirties. The Chabriers' holiday in Spain is vividly documented in Emmanuel Chabrier's delighted correspondence with all his friends back home in Paris. Today Donald Macleod dips into those letters for an insight into the sights and experiences that inspired Chabrier to produce a uniquely Gallic take on Spanish rhythms, much loved everywhere except Spain! Espaကa Ulster Orchestra Yan Pascal Tortelier, conductor Rondes Champꀀtre Allan Schiller, piano Finale to Fisch-Ton-Kan (orchestration by Roger Delage) Mireille Delunsch, soprano, Goulgouly Christian Mehn, tenor, Fisch-Ton-Kan Ensemble Vocal Collegium Musicum de Strasbourg Roger Delage, director Trois valses romantiques (arr. Cortot) Kathryn Stott, piano Elizabeth Burley, piano La Sulamite Susan Mentzer, mezzo soprano Toulouse-Midi-Pyr退n退es Womens' Chorus Toulouse Capitole Orchestra Michel Plasson, conductor. Donald Macleod explores the story behind Chabrier's biggest-ever musical hit, Espana. |
| 2015 | 04 | A Bouillabaisse | 20150102 | The demise of Chabrier's brilliant comic opera, Le roi malgr退 lui, on the Paris stage sees the composer's reputation spread in Germany. Chabrier must surely be one of the most likeable fellows to have graced this earth. It seems no-one had a bad word to say about him. His wide circle of friends included all the leading musicians, writers, poets and painters of the day. Chabrier owned a remarkable collection of impressionist paintings including several by Manet, who produced the best known portrait of the composer. Emmanuel Chabrier's life slots into a fascinating point in French musical history. When he was born in 1841, Berlioz was already thirty-eight and famous, Saint-Sa뀀ns was six, while the rising stars of the future, Massenet and Faur退, were not yet born. Despite Wagner's dominance, and indeed Chabrier's own reverence for the German composer, Chabrier's music retains a staunchly Gallic individuality, with critics subsequently paying tribute to him as a 'direct forerunner of the modern school.' The reason for this may well relate, at least in part, to his studies. Chabrier was largely self-taught, and although he was better educated than most musical amateurs, he never followed the accepted route into the Paris Conservatoire or a similar institute. He trained first in law, only taking up full time composition in his thirties. Today Donald Macleod looks at Chabrier's final comic opera, a work in which the riches and innovation of the music managed to overcome the deficiencies of a confusing plot and weak libretto. Fellow composer, Ravel, declared that its premiere had 'changed the direction of French harmony. Danse slave. Allegro con brio Orchestre de la Suisse Romande Neeme J䀀rvi, conductor | |
| 2015 | 05 LAST | The Dreamer | 20150101 | 20151113 (R3) | The composer's final years were beset with illness and depression but this period saw the creation of several major works, including Chabrier's final opera, Bris退s - a work that he intended should be the last word in modernism. When Chabrier is invited to tea by the widow of his great musical hero, Richard Wagner, his manners and his music are not well received! Chabrier must surely be one of the most likeable fellows to have graced this earth. It seems no-one had a bad word to say about him. His wide circle of friends included all the leading musicians, writers, poets and painters of the day. Chabrier owned a remarkable collection of impressionist paintings including several by Manet, who produced the best known portrait of the composer. Emmanuel Chabrier's life slots into a fascinating point in French musical history. When he was born in 1841, Berlioz was already thirty-eight and famous, Saint-Sa뀀ns was six, while the rising stars of the future, Massenet and Faur退, were not yet born. Despite Wagner's dominance, and indeed Chabrier's own reverence for the German composer, Chabrier's music retains a staunchly Gallic individuality, with critics subsequently paying tribute to him as a 'direct forerunner of the modern school.' The reason for this may well relate, at least in part, to his studies. Chabrier was largely self-taught, and although he was better educated than most musical amateurs, he never followed the accepted route into the Paris Conservatoire or a similar institute. He trained first in law, only taking up full time composition in his thirties. Habanera c. 1885 Orchestre de la Suisse Romande Neeme J䀀rvi, conductor Ballade des gros dindons Steven Varcoe, baritone Graham Johnson, piano Villanelle des petits canards Les Cigales Felicity Lott, soprano Gwendoline, Overture to Act 1 Slovak Philharmonic Orchestra Jean-Paul Penin, conductor Bris退s: Excerpt from Act 1, Part IV Simon Keenlyside , baritone (Le Cat退chiste) Michael George, bass (Stratokl耀s) Joan Rodgers, soprano (Bris退s) Kathryn Harries, mezzo soprano (Thanasto) Chorus of Scottish Opera BBC Scottish Symphony Orchestra Jean Yves Ossonce, conductor Air de ballet Annie d'Arco, piano. Donald focuses on Chabrier's final years, beset with illness yet productive. |