Composer of 'G'



Ernest Guiraud (1837-1892)

A French musical educator and a composer. He was born in New Orleans of Louisiana, United States on 26th of June 1837. His Father, Jean-Baptiste-Louis Guiraud was a man who had won prestigious Prix de Rome in 1827 (with beating famous H.Berlioz!!). Ernest went to France in 1852 when he was 12 and entered Paris Conservatory to study under the famous opera composer Fromental Halévy. In 1958 he obtained premier prix in Marmontel's piano class. In 1859 He won the Prix de Rome with his cantata 'Bajazet et le joueur de flûte'. This being the only instance of both father and son obtaining this prize. Later on in 1876, He was appointed as a professor in accompaniment and harmony of Paris Conservatory, then became a professor of the master class in composition in 1880. Although his compositional manner is based on traditional latter romantic idiom such as Massenet or Saint-saens, he was much understandable (as an educator) to the newer compositional manners of his pupils such as Dukas, Emmanuel or Debussy. Therefore, many innovative composers graducated from his class. He is also known for his skill of orchestration such that he was asked to orchestrate 'Tales of Hoffman' (Offenbach) and 'Second suite from L'Arle'sienne' (Bizet) He was also a editeur of Bizet's 'Carmen'. Just before his death, he left a book entitled Traite pratique de l'instrumentation (Practical treatment of instrumentation: 1892, Paris). He died in Paris on 6th of May, 1892. (2003© K.S.)


Main Works

Opera King David le roi David (1852) {3act} ...Text: A.Soumet and F. Mallefille
Gli avventurieri (1861) ...
unperformed
Sylvie Sylvie (1864) {1act} ...Text: J. Adenis and J. Rostaing
The Cup of King Thule La coupe du roi de Thulé (1868) {3act} ... Text: L.Gallet and E. Blau
In Prison en prison (1869) {1act} ...text: T. Chaigneau and C. Boverat
Madame Turlupin
Mrs. Turlupin (1872) {2act} ...Text: E. Cormo and C. Grandvallet
The Flame Le feu (1879) ... E. Gondinet┬Š╦▄
Piccolino Piccolino (1876)
Brave Adventure la galante aventure (1882) {3act} ...Text: L. Davyl and A. Silvestre
Frédégonde (1892) {5act} ... Text gallet, with based on A.Thierry 'Les recits des temps merovingiens'. supplement by Saint-Saens (1895)
Ballet
Kobold le Kobold (1870) {1act} ...Text: Gallet and C. Nuitter
Gretna Green Gretna Green (1873) ... Text: Nuitter. Gretna Green is a place name in Scotland which is famos for wedding ceremony.
Choir
Bajazet and a Flute player Bajazet et le joueur de flûte (1859)
Messe solennelle (1860)
Orchestral Suite pour orchestre (1871) {orch}
Persian Dance Danse persane, air de ballet (1880) {orch} ...Arranged from opera 'Le Feu'
Caprice (1884) {vln, orch}
Allegro de concert (1885) {p, orch}
Suite No.2 (1886) {orch}
Symphonic Poem 'Fantasic Chase Song' Chasse fantastique (1887) {orch}
Chamber Sonate pour piano, op.1 (1856) {p}
In Aragon Manner
Aragonaise, op.2 (1858) {p} ...Aragon is the name of an region in Spain
Concert Overture Ouverture de concert, op.10 (1874) ...Revised as 'ouverture d'Arteveld' in 1882
Scherzo (1890) {p}
Legend and Dance légende et danse (-) {fl, p}
Busser do the Instrumentation Büsser traite d'instrumentation (-) {p}


Guiraud Disc Review


"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, exotic Canteloube's poem and Guiraud's extraordinary-rare caprice create the climax. Although the caprice is written in totally traditional manner (not fascinative at all for post-romantic music lovers), the performance is fairly acceptable except the violin is too tight.

(2003. 12. 2)