Overview
Florent Schmitt (1870-1958): a free spirit of French music
Florent Schmitt is a French composer whose work spans more than 70 years, covering the end of Romanticism, Impressionism and the modern era. Often compared to Ravel and Debussy, he is distinguished by a powerful, colourful and expressive style, blending Impressionist, post-Romantic and sometimes even Oriental influences.
1. An eclectic and daring composer
A master of orchestration: his orchestral writing is flamboyant, often compared to that of Ravel and Stravinsky.
An independent temperament: unlike his contemporaries, he refused to fully embrace impressionism and maintained stylistic freedom.
A rich harmonic language: he used daring harmonies, sometimes verging on polytonality.
2. Notable works
La Tragédie de Salomé (1907, revised in 1910): His most famous work, a ballet with a mysterious and sensual atmosphere, influenced by Orientalism.
Psalm XLVII (1904): Monumental choral work with sumptuous orchestration.
Antoine et Cléopâtre (1920): Stage music inspired by Shakespeare, with a striking orchestral richness.
Quintette pour piano et cordes (1908): A masterful chamber piece of rare dramatic intensity.
3. A composer to rediscover
Long eclipsed by Ravel and Debussy, Schmitt is now being re-evaluated for his audacity and his orchestral genius. He embodies a bridge between 19th and 20th century French music, between late Romanticism, Impressionism and modernity.
History
Florent Schmitt was born in 1870 in Blâmont, in Lorraine, a region that was still peaceful before being marked by the tumultuous history of the 20th century. He showed a gift for music from a very early age, and his passion led him to the Paris Conservatoire, where he studied with great masters such as Massenet and Fauré. But Schmitt was not the type to obediently follow the beaten track: he had an independent, sometimes provocative temperament and an insatiable curiosity for new sounds.
In 1900, after several unsuccessful attempts, he finally won the prestigious Prix de Rome, which opened many doors for him. During his stay at the Villa Medici, he travelled in Italy and the Orient, feeding his musical imagination with exotic influences. On his return, he composed some of his major works, notably Psalm XLVII (1904), a dazzling choral fresco, and The Tragedy of Salome (1907), which is striking for its orchestral audacity and its bewitching atmosphere. This last work, after being revised in 1910, became his most famous, and even Stravinsky recognised it as an influence on his Rite of Spring. After the conflict, he resumed his career with renewed vigour, writing works full of energy and colour, such as Antoine et Cléopâtre (1920) and his Quintette pour piano et cordes (1908), a masterpiece of French chamber music.
Schmitt’s temperament, sometimes acerbic and mocking, earned him enemies. He did not hesitate to violently criticise some of his contemporaries and was often provocative in his stances. In the 1930s, he became a member of the Académie des Beaux-Arts and a music journalist, which gave him a platform on which to express his strong opinions. However, his ambiguous attitude during the Occupation meant that he was ostracised after the war, even though he was never officially compromised with the Vichy regime.
In his final years, he continued to compose with astonishing vigour despite his advanced age. Until his death in 1958, he remained a composer apart, admired for the richness of his orchestral writing, but also often misunderstood. Today, his work is gradually being rediscovered, and his orchestral genius is finally being recognised for its true value.
Chronology
Florent Schmitt (1870-1958) was a French composer often associated with Impressionism and Post-Romanticism. Here is a chronology of his life and career:
Youth and education (1870-1900)
28 September 1870: Born in Blâmont, Lorraine.
1889: Enters the Paris Conservatoire, where he studies with Gabriel Fauré, Jules Massenet and Théodore Dubois.
1900: Wins the Prix de Rome with his cantata Semiramis. This enables him to stay at the Villa Medici in Rome, then to travel to Germany, Austria and Russia.
Early career and recognition (1900-1914)
1904: Composition of Psalm 47, one of his most famous works, characterised by spectacular orchestration and an orientalising influence.
1907-1910: Writes his symphonic ballet The Tragedy of Salome, which would influence Stravinsky in The Rite of Spring.
1912: Composition of Antoine et Cléopâtre, an orchestral suite inspired by Shakespeare.
1913: First success of La Tragédie de Salomé under the direction of Inghelbrecht.
War and artistic maturity (1914-1939)
1914-1918: Mobilised during the First World War. During this period, he composed little.
1920: Writes Dionysiaques, a work for concert band which remains a reference in this repertoire.
1921: Composition of Suite en rocaille, a tribute to Rameau.
1924: Becomes music critic for the newspaper Le Temps, where he defends young composers and expresses often strong opinions.
1930: Produces important chamber music works, such as his Quintette pour piano et cordes, a masterpiece in the genre.
1936-1939: Director of the Conservatoire de Lyon.
Second World War and final years (1939-1958)
1939-1945: Remains in France during the war and continues to compose.
1947: Writes Récits et contre-récits for piano.
1953: Composes Musiques intimes, a collection of pieces for piano.
1957: His last great work, Légende, for saxophone and orchestra, is premiered.
17 August 1958: Dies in Neuilly-sur-Seine, leaving behind an important and often unappreciated musical legacy.
Florent Schmitt was an eclectic composer, influenced by Debussy and Ravel, but with a personal style characterised by rich orchestration and intense expressiveness.
Characteristics of the music
The music of Florent Schmitt (1870-1958) is at the crossroads of several influences, combining impressionism, post-romanticism and a certain harmonic modernity. His style is characterised by lush orchestration, a strong sense of rhythm and an occasionally daring expressiveness. The main characteristics of his musical language are as follows:
1. Sumptuous and colourful orchestration
Schmitt was a master of the orchestra, capable of creating rich sound textures. He follows in the tradition of Ravel and Strauss, with a particular attention to instrumental colours.
➡ Example: La Tragédie de Salomé (1907, reorchestrated in 1910) is a dazzling demonstration of his orchestral mastery, with evocative sounds and a bold harmonic palette.
2. An expressive and sensual lyricism
His music is often passionate, with long and expressive melodic lines. He sometimes draws on oriental or exotic influences, thus reinforcing the bewitching character of his works.
➡ Example: Psalm 47 (1904), which exudes impressive dramatic power and mystical fervour.
3. A daring harmonic language
Schmitt pushes the boundaries of traditional tonality without ever sinking into atonality. He favours complex chords, unexpected modulations and rich harmonies reminiscent of Debussy and Ravel, but with a more massive and dramatic approach.
➡ Example: Quintet for piano and strings (1908), a work of chamber music with tense harmonies and marked contrasts.
4. Rhythmic energy and marked dynamism
Unlike pure impressionism, which often favours blurred and undulating atmospheres, Schmitt infuses vigorous and incisive rhythm into many of his works. He often exploits asymmetrical rhythms and unexpected accents.
➡ Example: Dionysiaques (1913), a piece for concert band in which rhythmic energy is omnipresent, reminiscent of Stravinsky’s ballets.
5. An influence of post-romanticism and symbolism
Although he was a contemporary of Debussy and Ravel, Schmitt distinguished himself through a more epic and dramatic style, sometimes reminiscent of Richard Strauss or even Wagner in certain orchestral works. He was also influenced by symbolism, particularly in his works inspired by literary texts (Shakespeare, biblical Psalms).
➡ Example: Antony and Cleopatra (1920), a stage score with powerful narrative overtones.
6. A taste for the exotic and oriental inspirations
Schmitt often explored orientalising sounds, both in his melodies and in his orchestration. In this way, he followed the trend of certain French composers of the early 20th century, such as Ravel (Shéhérazade) and Debussy (Pagodes).
➡ Example: Psalm 47, which incorporates modal influences and monumental choral writing inspired by Middle Eastern music.
7. Intense and sophisticated chamber music
Less well known than his orchestral works, his chamber music is nevertheless of great finesse. It combines intimate textures with bold harmonies and intense lyricism.
➡ Example: Sonata for Violin and Piano (1919), which alternates between dramatic tension and moments of introspective calm.
Conclusion
Florent Schmitt was a unique composer, straddling several styles: impressionist in his taste for orchestral colour, post-romantic in his expressiveness and modernist in his harmonic and rhythmic daring. His work, long underestimated, deserves to be rediscovered for its originality and evocative power.
Relationships
Florent Schmitt (1870-1958) had a variety of relationships with his contemporaries, both in the musical field and with personalities from outside the world of music. Here are some of his notable interactions:
Relationships with other composers
Gabriel Fauré and Jules Massenet
Schmitt studied with Gabriel Fauré and Jules Massenet at the Paris Conservatoire. Fauré had a notable influence on his harmonic style and sense of lyricism, although Schmitt later developed a more daring language.
Claude Debussy and Maurice Ravel
Schmitt was often compared to Debussy and Ravel, although he distinguished himself through a more massive and expressive style.
He admired their music, but had a more impetuous temperament.
Debussy wrote to him admiringly after the premiere of Psalm 47, but Schmitt did not hesitate to criticise some of the works of the master of impressionism.
Ravel, who had a more reserved personality, seemed to esteem him, although they were not close.
Igor Stravinsky
Schmitt crossed paths with Stravinsky in the musical Paris of the 1910s. Some critics consider that La Tragédie de Salomé (1907) influenced The Rite of Spring (1913). Stravinsky himself is said to have recognised that this work by Schmitt had an impact on his orchestral and rhythmic approach.
Richard Strauss
Schmitt was a great admirer of Richard Strauss and shared with him a dense and expressive orchestral writing. They met, and Strauss is said to have appreciated Schmitt’s daring approach.
Darius Milhaud and the members of the Group of Six
Schmitt, although a friend of some members of the Group of Six, notably Darius Milhaud, did not subscribe to their neoclassical and anti-impressionist aesthetic. He was more attracted to opulent orchestral writing.
Relations with performers and orchestras
André Cluytens and Charles Munch
These French conductors championed Schmitt’s music in the 1940s and 1950s. Charles Munch, in particular, helped to bring Psalm 47 and The Tragedy of Salome to a wider audience.
Jacques Ibert and chamber music performers
Schmitt was close to Jacques Ibert, who shared his taste for the exotic and orchestral colour.
His chamber music has been played by great performers, including members of the Capet Quartet and the pianist Alfred Cortot.
Relations with non-musicians
Paul Dukas and music critics
Schmitt was a music critic for the newspaper Le Temps (1929-1939). He developed strong opinions there, sometimes criticising certain composers violently. This earned him some enemies, although he was respected for his independence of spirit.
Friends, artists and writers
Schmitt moved in artistic circles in Paris and frequented writers such as André Gide and painters close to symbolism. His musical style, very narrative, shows an affinity with the literature and painting of his time.
Controversial relations during the Second World War
During the Occupation, Schmitt was sometimes perceived as politically ambiguous. Although he was not a collaborator, some of his positions earned him criticism after the war.
Conclusion
Florent Schmitt was a composer with a strong character, admired by some and feared by others. He had a variety of relationships with the great musical figures of his time, influenced composers such as Stravinsky and had a lasting impact on 20th-century French orchestration.
Similar composers
Florent Schmitt (1870-1958) occupies a unique place in 20th-century French music, at the crossroads of impressionism, post-romanticism and modernism. His abundant orchestral writing, intense expressiveness and rhythmic audacity bring him closer to several French and European composers. Here are a few composers with similar styles:
1. Albert Roussel (1869-1937)
What they have in common:
A refined harmonic language, oscillating between impressionism and neoclassicism.
Robust and rhythmic orchestration.
A taste for exoticism and oriental inspirations (Padmâvatî, Évocations).
An example of a work similar to Schmitt’s:
Bacchus et Ariane (1930) – orchestral ballet full of vitality and sensuality, in the tradition of Schmitt’s La Tragédie de Salomé.
2. Maurice Ravel (1875-1937)
What they have in common:
Sumptuous and refined orchestration.
An orientalising influence in certain works (Ravel’s Shéhérazade vs. Schmitt’s Psalm 47).
A bold harmonic style, particularly in chamber music.
Example of a work similar to Schmitt’s:
Daphnis et Chloé (1912) – a ballet evoking a sensual and colourful atmosphere similar to La Tragédie de Salomé.
3. Paul Dukas (1865-1935)
What they have in common:
Dense orchestration and dramatic composition.
A quest for the grandiose and the spectacular.
A certain austerity in some works, offset by powerful lyricism.
Example of a work similar to Schmitt:
La Péri (1912) – a ballet with rich and refined orchestral writing, similar to that of Schmitt.
4. Richard Strauss (1864-1949)
Things they have in common:
Abundant and expressive orchestration.
A taste for vast sonic frescoes.
A certain affinity with symbolism and orientalising atmospheres.
Example of a work similar to Schmitt:
Salomé (1905) – an opera with bewitching chromaticism and powerful orchestration, which probably influenced The Tragedy of Salomé.
5. Igor Stravinsky (1882-1971) [Russian Period]
Similarities:
An incisive use of rhythm.
A percussive and energetic orchestration.
Inspiration in ancient and ritual cultures.
Example of a work close to Schmitt:
The Rite of Spring (1913) – close to Dionysiaques (1913) by Schmitt, in their rhythmic power and orchestral savagery.
6. Alexander Scriabin (1872-1915)
What they have in common:
A rich and visionary harmony.
A mystical and sensual atmosphere.
An intense orchestral expressiveness.
An example of a work similar to Schmitt’s:
The Poem of Ecstasy (1908) – a work with shimmering orchestral textures, which could echo the mystical impulses of Schmitt’s Psalm 47.
7. Ottorino Respighi (1879-1936)
What they have in common:
An opulent and colourful orchestration.
The use of folklore and ancient influences.
Evocative and narrative music.
An example of a work similar to Schmitt’s:
Feste Romane (1928) – a vibrant and spectacular orchestration, reminiscent of certain orchestral frescoes by Schmitt.
8. Joseph Guy Ropartz (1864-1955) & Jean Cras (1879-1932) [Breton composers]
What they have in common:
A fusion of impressionist and post-romantic influences.
An elaborate and suggestive orchestration.
A certain taste for the exotic and evocative soundscapes.
An example of a work close to Schmitt:
Symphony No. 3 by Ropartz (1909) – an orchestral fresco that shares with Schmitt a dramatic and lyrical sense.
Conclusion
Florent Schmitt is part of a post-romantic, impressionist and modernist musical movement, where orchestral power, harmonic richness and rhythmic audacity are combined. He shares affinities with Roussel, Ravel and Dukas in France, as well as with Strauss, Scriabin and Respighi abroad. His work remains unique in its exuberance and dramatic intensity, and deserves to be rediscovered alongside those of these composers.
Famous works for solo piano
Here are some of Florent Schmitt’s most famous works for solo piano, which bear witness to his refined, often daring style, somewhere between impressionism, post-romanticism and modernism.
1. Ombres, op. 64 (1912-1913)
👉 His piano masterpiece
A cycle of three pieces with contrasting atmospheres and great harmonic richness.
I. Jubilé: An energetic and rhythmic sound fresco.
II. Tristesse au jardin: A meditative and impressionistic piece, reminiscent of Debussy.
III. Pursuit through the Night: An impetuous toccata, evoking a nocturnal hunt, with an almost Stravinsky-like virtuosity.
2. Three Dances, op. 42 (1908)
A cycle inspired by old dances, but with a modern touch.
I. Gaily
II. Quickly
III. Very slowly
These pieces show Schmitt’s lighter side, with lively rhythms and refined harmonies.
3. Mirages, op. 70 (1920-1921)
Two pieces of great sensuality and surprising harmonic modernity:
I. Perpetuum mobile: A stream of notes in perpetual motion, almost hypnotic.
II. Tristesse joyeuse: A meditative piece, where the melody floats on subtle harmonies.
4. Crépuscules, op. 56 (1911)
Four short pieces, both dreamy and mysterious, reminiscent of the impressionist aesthetic:
I. Élégie
II. Réminiscence
III. Clarté de lune
IV. Nocturne
5. Reflections of Germany, op. 28 (1903-1905)
Suite of ten pieces inspired by the cities and landscapes of Germany, written after his stay at the Villa Medici.
Each piece is a kind of musical postcard, with evocations that are sometimes nostalgic, sometimes light-hearted.
6. Rêves, op. 65 (1915)
A cycle of five short pieces, full of mystery and gentleness.
7. Sonate libre en deux mouvements enchaînés, op. 68 (1920)
An ambitious, highly personal work, oscillating between meditative lyricism and moments of fury.
The influence of Fauré and Ravel is mixed with harmonic audacity reminiscent of Scriabin.
8. Musiques intimes, op. 116 (1949-1953)
A collection of eight pieces, among his last works for piano, which show a more refined and introspective style.
9. Suite en rocaille, op. 84 (1935)
A tribute to Rameau, with a neo-baroque aesthetic tinged with humour and irony.
10. Récits et contre-récits, op. 99 (1947)
Short pieces, alternating between free fantasy and rigorous counterpoint, in a more pared-down but always refined language.
Conclusion
Florent Schmitt’s piano music remains too little known, but it is distinguished by:
Virtuoso and demanding writing.
A harmonic richness that often goes beyond impressionism.
Evocative atmospheres, sometimes mysterious, sometimes flamboyant.
👉 Les Ombres et Mirages are his most famous cycles, but works such as the Sonate libre or the Crépuscules are also worth rediscovering.
Famous works
Florent Schmitt composed a wealth of works covering various genres, including orchestral music, chamber music, ballet and choral music. Here are his most famous works, excluding pieces for solo piano:
1. Orchestral music
La Tragédie de Salomé, op. 50 (1907, revised in 1910)
👉 His most famous work
A ballet inspired by the biblical myth of Salome.
The revised version for orchestra alone (1910) is a masterpiece of orchestral impressionism, influencing Stravinsky (The Rite of Spring).
Sensual and dramatic music, with flamboyant orchestration.
Psalm 47, op. 38 (1904)
A monumental fresco for choir, soprano and orchestra.
Comparable to Carl Orff’s Carmina Burana in its exuberance.
Evokes an imaginary Orient with shimmering harmonies and impressive choral power.
Dionysiaques, op. 62 (1913)
A work for concert band (brass and woodwind), considered a masterpiece of the genre.
Highly rhythmic, colourful and inspired by the ancient Dionysian festivals.
Rêves, op. 65 (1915)
A dreamlike and evocative symphonic poem, close to impressionism.
Antoine et Cléopâtre, op. 69 (1920)
Stage music for Shakespeare’s play, later rearranged into two orchestral suites.
Evokes the ancient Orient with exceptional sonic refinement.
Symphony No. 2, op. 137 (1957)
His only symphony, completed at the end of his life.
A more sober language, with orchestral writing that is always powerful.
2. Chamber music
Piano Quintet, op. 51 (1908)
One of the most impressive chamber pieces in the French repertoire.
Rich in modulations and rhythmic energy.
Sonata for Violin and Piano, op. 68 (1919)
A powerful and technically demanding work.
Resembles the sonatas of Fauré and Ravel, but with a more dramatic tension.
Free Sonata in Two Connected Movements for Cello and Piano, Op. 84 (1919)
A piece of marked contrasts, with bold harmonic writing.
Légende, Op. 66 (1918)
Work for saxophone (or violin/viola/cello) and piano.
One of the first major works for classical saxophone.
Hasards, op. 96 (1943)
Suite for flute, harp and string quartet, with light and refined sounds.
3. Choral and vocal music
Mass in D minor, op. 138 (1958)
A late sacred work of great spiritual depth.
Songs and melodies
Schmitt composed several melodies on poems by Baudelaire and Verlaine, often in a refined and evocative style.
4. Ballets and incidental music
Salammbô, op. 76 (1925)
Ballet inspired by Flaubert’s novel.
Richly orchestrated music evoking the ancient Orient.
Oriane et le Prince d’Amour, op. 83 (1933)
A sumptuously orchestrated ballet, in the tradition of La Tragédie de Salomé.
Conclusion
Florent Schmitt’s most famous works for instruments other than the piano are La Tragédie de Salomé, Psaume 47, Dionysiaques and the Quintette avec piano. His orchestral writing is often compared to that of Ravel and Strauss, with a pronounced taste for sonic colours and dramatic expressiveness.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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