Composer of 'C'

Marie-Joseph Canteloube (1879-1957)

A French Musicologist, composer, and pianist. His real name is Marie-Joseph Canteloube de Malaret (New Grove Dictionary 1980 edition says Calaret, though). Born at Annonay in Ardèche, Auvergne, 21 Octover 1879. After spenting his childhood life in Maramé, he moved to Paris in 1900 to learn piano under Amélie Daetzer, a pupil of Chopin. The following year, from 1901, he started to learn composing under Vincent D'indy at Schola-Cantorum. He Founded an association called La Bourrée (Auvergne popular-song lovers' association) in 1925, for the people from Auvergne who loved the popular songs of their native region. His largest and best known contribution is as a musicologist. He has collected popular melodies with native words: Oc (Langue d'oc: southern-French rooted old dialect) form. By using the materials with his arrangements, he composed 'Songs of Auvergne'. He was also active as a critical biographer and a writter. He wrote 'Anthologie des chants populaires Francais' (1939-1944), 'Les Chants des Provinces Français' (1946), and left critical biographies of Vincent D'indy in 1949, and of Déodat de Séverac in 1950. He died at Gridny in 4 November 1957 (©K.S. 2003).

Main Works

Stage Works Farm House le mas (1910-1913)
Vercingetorix vercingétorix (1932)
Orchestra Verse for a Far Princess vers la princesse lointaine (1910-1911)
Three Symphonic Sketches 'Laurel' trois esquisses symphoniques 'lauriers' (1931)
Concerto French Pieces pièces Françaises (1934-1935) <p, orch>
Poems poèmes (1937) <vln, orch>
Chamber Sentimental Conversation colloque sentimental (1903) <vo, 2vln, vla, vc>
In the Mountainous Lands dans la montagne: suite (1904) <vln, p>
Rustics rustiques (1946) <ob, cl, bssn>
(his original)
Autumn Eclogue eglogue d'automne (1909) <vo, orch>
Oh Spring au printemps (1913) <vo, orch>
Trilogy tryptique (1914) <vo, orch>
L'arada l'arada six pieces (1918-1922) <vo, p>
Popular Songs of Auvergne-Querey Highlands chants populaires de Haute-Auvergne et Haut-Querey (1907) <vo, p>
Songs of Auvergne Region chants d' Auvergne (1923-1930) <vo, orch>
Als Catalans als catalans (1923) <6vo>
Five Songs of Peasants cinq chants paysans (1927) <choir>
Religious Songs of Auvergne Highlands chants religieux de Haute-Auvergne (1929) <vo, p>
New Selection of French Peasants' Songs nouveaux chants paysans (1931) <choir>
Songs of French Peasants book 3 chants paysans trosième série (1935) <choir>
Songs of French Farmers chants des terroirs Français (1939) <choir>
French Songs book 2 chants de France, deuxième série (1939-1940) <choir, orch>
Songs of Alsace Region chanssonier alsacien (1945) <choir>
Songs of Angoumais chants de l'Angoumais (1947) <vo, p>
Songs of the Region of Oc Language chants du languedoc (1947) <vo, p>
Songs of Basque Region chants des pays Basques (1947) <vo, p>
Christmas Folksongs of France noëls populaires français (1948) <vo, p>
Party Songs of 18th Century chansons galantes du XVIII siècle (1933) <4vo, p (clvsn)>
Party Songs book 2 chansons galantes deuxième série (1935) <vo, p>

Canteloube Disc Review

"Chants d'Auvergne (Canteloube) Chansons Bourguignonnes du Pays de Beaune (Emmanuel)" (Erato : WPCS-11016/7)
Dawn Upshaw (sop) Kent Nagano (cond) Orchestre de l'Opera National de Lyon
Canteloube is a musicologist and a composer who forced his way through his native region, mountainous mid-southern area called Auvergne. Although his name is fairly known by classical music fans, once you wish to find an acceptable quality of information via internet, you will find there is almost no information in this virtual world. This strange tendency clearly reflects the inferiority in social status of the musicologists than of the composers. The work strongly reflects D'indy's compositional diction in harmony and chromatisism. But the material (simplicity in melody) hold exaggerated Wagneristism down. This makes the composition far modest comparing with ordinal Franckistic compositions. Needless to say you can find there are many recordings for this, I recommend this version as the first choice. The largest merit of the present disc is the beautiful and highly spirited voice of Dawn Upshaw. Her voice can be characterised brave than mild, but far bright and well stretched. Also this CD encloses a work of another underrated musicologist Maurice Emmanuel, who did the similar music-re-arrangement project.

"Rare French Works for Violin and Orchestra : Violin Concerto (Fauré) Morceau de Concert (Saint-Saëns) Fantaisie Norvégienne (Lalo) Caprice (Guiraud) Guitarre (Lalo) Poème (Canteloube)" (Hyperion : CDA67294)
Thierry Fischer (cond) Philippe Graffin (vln) The Ulster Orchestra
This is a compilation album of French rare works performed by Ulster orchestra which has saved many underrated French composers under the wands of Handley or Tortelier. At a first glance, the featured composers names made me to think the title was gimcrackery because the CD raised the big names such as Faure or Saint-Saens. The rareness did not come from the composers name but from the tracks. In fact, such a niche market strategic selection makes the CD valuable. As you can easily recognized by the names, the compositions selected are all written in latter romantic manner. Also, their rareness have their own reasons for each. As for faure's one, maybe bacause it is an early work, it is written in strongly German-centric so that sounds no-Faure-like feminine charms. Also, as for Saint-Saens's one, the title recites the content in a bad sense. Therefore, except for Lalo's exotic piece, Canteloube's poem produces the climax of the disc. Since he ardently gathered domestic popular songs, this exotic and naive poem is much more attractive than other famous composers. Although the violin sounds a bit rigid, the performance is still good enough to be accepted.

(Japanese edition: 2003. 2. 6 / English Edition: 2003. 4. 21)