Emmanuel Chabrier
Alexis-Emmanuel Chabrier was a French Romantic composer and pianist. His bourgeois family did not approve of a musical career for him, and he studied law in Paris and then worked as a civil servant until the age of thirty-nine while immersing himself in the modernist artistic life of the French capital and composing in his spare time. From 1880 until his final illness he was a full-time composer.
Although known primarily for two of his orchestral works, España and Joyeuse marche, Chabrier left a corpus of operas, songs, and piano music, but no symphonies, concertos, quartets, sonatas, or religious or liturgical music. His lack of academic training left him free to create his own musical language, unaffected by established rules, and he was regarded by many later composers as an important innovator and a catalyst who paved the way for French modernism. He was admired by, and influenced, composers as diverse as Debussy, Ravel, Richard Strauss, Satie, Poulenc, Stravinsky, and others of the group of composers known as Les Six. Writing at a time when French musicians were generally proponents or opponents of the music of Wagner, Chabrier steered a middle course, sometimes incorporating Wagnerian traits into his music and at other times avoiding them.
Chabrier was associated with some of the leading writers and painters of his time. Among his closest friends was the painter Édouard Manet, and Chabrier collected Impressionist paintings long before they became fashionable. A number of such paintings from his personal collection by artists known to him are now housed in some of the world's leading art museums. He penned a large number of letters to friends and colleagues which offer an insight into his musical opinions and character.
Chabrier died in Paris at the age of fifty-three from a neurological disease, probably caused by syphilis.
Life
Early years
Chabrier was born in Ambert,, a town in the Auvergne region of central France. He was the only son of a lawyer, Jean Chabrier, and his wife, Marie-Anne-Evelina, née Durosay or Durozay. The Chabriers were of old Auvergne stock, originally of peasant origin, but in recent generations merchants and lawyers had predominated in the family. A key member of the household was the boy's nanny Anne Delayre, who remained close to him throughout her life.Chabrier began taking music lessons at the age of six; his early teachers were from cosmopolitan backgrounds: at Ambert he studied with a Carlist Spanish refugee called Saporta, and after the family moved to Clermont-Ferrand in 1852 he studied at the Lycée imperial with a Polish musician, Alexander Tarnovsky. The earliest of Chabrier's compositions to survive in manuscript are piano works from 1849. A piano piece, Le Scalp!!! was later modified into the Marche des Cipayes. The first piece to which the composer gave an opus number was a waltz for piano, Julia, op. 1, 1857.
Tarnovsky advised Chabrier's parents that their son was talented enough to pursue a musical career, but Jean Chabrier was determined that his son should follow him into the legal profession. He moved the family to Paris in 1856, so that Chabrier could enrol at the Lycée Saint-Louis. From there Chabrier went on to law school, but did not neglect music, continuing his studies in composition, violin and piano. After graduating from the law school in 1861 he joined the French civil service at the Ministry of the Interior, where he worked for nineteen years.
Paris: dual harness
Chabrier was well regarded at the ministry, but his passion was music, to which he devoted his free time. He continued his studies, with teachers including Edouard Wolff , Richard Hammer, Théophile Semet and Aristide Hignard. In a study of the composer published in 1935 Jacques-Gabriel Prod'homme commented that it would be wrong to class Chabrier as merely an amateur in this period: "For, while in quest of the technique of his art, he displayed a curiosity in the painting and literature of the 'modernists' of his day that, among musicians, had few parallels."From 1862 Chabrier was among the circle of the Parnassians in Paris. Among his friends were Auguste Villiers de l'Isle-Adam and Paul Verlaine; with the latter he planned a comic opera in the fashionable style of Offenbach, Vaucochard et fils Ier. He did not complete it, but four fragments have survived. His full-time official post severely restricted Chabrier's ability to compose large-scale works. He began an opera on a Hungarian historical theme entitled Jean Hunyade, to a libretto by Henry Fouquier, but abandoned it, after completing four numbers, in 1867. In December 1872 he scored a success at a private theatre club, the Cercle de l'union artistique with a three-act opérette bouffe Le Service obligatoire written in collaboration with two other composers, and which according to Victorin de Joncières was acclaimed by the audience as undoubted proof of Chabrier's talent. Another attempt at operatic comedy, Fisch-Ton-Kan, with Verlaine and Lucien Viotti, was performed in March 1875 at the same club with Chabrier at the piano; five fragments survive. He did not set any poems by Villiers de L'Isle Adam or Verlaine, although the latter wrote a sonnet À Emmanuel Chabrier as a remembrance of their friendship.
There are several descriptions of Chabrier's piano-playing at around this time; many years later the composer Vincent d'Indy wrote, "Though his arms were too short, his fingers too thick and his whole manner somewhat clumsy, he managed to achieve a degree of finesse and a command of expression that very few pianists – with the exception of Liszt and Rubinstein – have surpassed." The composer and critic Alfred Bruneau said of Chabrier, "he played the piano as no one has ever played it before, or ever will…" The wife of the painter Renoir, a friend of the composer, wrote:
Both Chabrier's parents died within the space of eight days in 1869. During the Franco-Prussian War and Commune, he continued in his official post as the ministry moved from Tours to Bordeaux then to Versailles. In 1873 he married Marie Alice Dejean, the granddaughter of Louis Dejean, who had gained his fortune as founder and manager of the Cirque d'été and the Cirque Napoléon. Alice and Chabrier had three sons, one of whom died at birth. Chabrier's friends in Paris included the composers Gabriel Fauré, Ernest Chausson, and Vincent d'Indy; painters including Henri Fantin-Latour, Edgar Degas and Édouard Manet, whose Thursday soirées Chabrier attended; and writers such as Émile Zola, Alphonse Daudet, Jean Moréas, Jean Richepin and Stéphane Mallarmé.
During the 1870s Chabrier began several stage works. The first to be completed was a three-act opéra-bouffe L'étoile, commissioned by the Bouffes-Parisiens, the spiritual home of Offenbach. He secured the commission through his many contacts in the world of arts and letters: he had met the librettists, Albert Vanloo and Eugène Leterrier through the painter Alphonse Hirsch, whom he had got to know as a member of Manet's set. The opera was modestly successful, running for 48 performances in 1877, but was not revived in his lifetime. Nonetheless, it brought him to the attention of the press and attracted the publishing firm Enoch & Costallat, who published his works during the rest of his life. Above all, as a result of L'étoile he ceased to be regarded as a talented amateur. The same year Saint-Saens gave the first public performance of his 1865 Impromptu, his first piano piece of real importance with his personal stamp of originality.
Full-time composer
Like many progressively-minded French composers of the time, Chabrier was greatly interested in the music of Wagner. As a young man he had copied out the full score of Tannhäuser to gain an insight into the composer's creative process. On a trip to Munich with Henri Duparc and others in March 1880, Chabrier first saw Wagner's opera Tristan und Isolde; he wrote to the personnel director at the ministry saying he had to go to Bordeaux on private matters, but in confidence confessed that for ten years he had wanted to see and hear Wagner's opera, and promised that he would back at his desk the following Wednesday. D'Indy, who was among the group, recorded that Chabrier was moved to tears at hearing the music, saying of the prelude, "I have waited ten years of my life to hear that A in the cellos".This event led Chabrier to conclude that he must single-mindedly pursue his vocation as a composer, and after several periods of absence he left the Ministry of the Interior in late 1880. In a 2001 study, Steven Huebner writes that there may have been additional factors in Chabrier's decision: "the growing momentum of his musical career … his high hopes for the Gwendoline project, and the first signs of a nervous disorder, probably the result of a syphilitic condition, that would claim his life 14 years later."
The project to which Huebner refers was the operatic tragedy Gwendoline, on which Chabrier had begun working in 1879. The librettist was Catulle Mendès, described by the pianist and scholar Graham Johnson as "a relentlessly ambitious member of the literary establishment". Mendès wrote texts that were set by at least seven French composers, including Fauré, Massenet, Debussy and Messager; none of his operatic works were successful, and Johnson rates the libretto for Gwendoline as "catastrophic". Chabrier worked on the piece until 1885.
The conductor Charles Lamoureux appointed Chabrier as his chorus master and répétiteur, and included his music in the Lamoureux Orchestra's concerts. In 1881 Chabrier's piano cycle Pièces pittoresques was premiered. César Franck commented, "We have just heard something extraordinary: this music links our time with that of Couperin and Rameau". Chabrier travelled to London and Brussels to hear Wagner's Ring cycle, and in 1882 Chabrier and his wife visited Spain, which resulted in his most famous work, España, a mixture of popular airs he had heard and his own original themes. It was premiered under its dedicatee, Lamoureux, in November 1883. It met with what Poulenc calls "immediate and rapturous success", made Chabrier's reputation, and by public demand received multiple performances over the next months. Admirers included de Falla, who stated that he did not think any Spanish composer had succeeded in achieving so genuine a version of the jota as in the piece,
The Paris Opéra declined to present Gwendoline, which was premiered at La Monnaie in Brussels under Henry Verdhurdt in 1886. It was well received, but closed after two performances because the impresario went bankrupt. William Mann wrote of the music that "in full, rapturous cognizance of mature Wagner", Chabrier composed "great music...such as the long solo and choral ensemble, 'Soyez unis', and all the love duet music, and there is more Frenchman than Wagner in them, above all in the final Liebestod".
While striving for a staging of his opera Chabrier was also working on some of his mature songs – Sommation irrespectueuse, Tes yeux bleus, Chanson pour Jeanne, Lied, as well as a lyric scene for mezzo, women's chorus and orchestra La Sulamite and the piano version of the Joyeuse Marche. He then found a new lyric project to tackle – Le roi malgré lui – and completed the score in six months. It was premiered at the Opéra-Comique in Paris, and a favourable reception seemed to promise a successful run, but the theatre burned down after the third performance. Through Chabrier's friendship with the Belgian tenor Ernest van Dyck and subsequently the conductor Felix Mottl, directors of opera houses in Leipzig and Munich expressed interest in both works and Chabrier made several happy trips to Germany as a result; his works were given in seven German cities. In July 1888 he was appointed as a Chevalier de la Légion d'honneur.
Chabrier left a rich and exuberant body of correspondence; Myers sees the "letter-writer's gift of spontaneous self-expression, with no undertones of insincerity or of writing for effect". He expressed himself in "Rabelaisian language" and "laced with a profusion of racy slang". In 1994 the musical scholar Roger Delage, with Frans Durif and Thierry Bodin, produced a 1,300 page edition of the composer's correspondence, containing 1,149 letters, ranging from those to his family and Nanine, exchanges with contemporary friends in the musical world, negotiations with publishers, and one a commiseration with his son André on the death of his pet bird.