Adolphe Adam

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Maestro Adolphe Adam. Paris, circa 1855

Adolphe Charles Adam (24 July 1803 – 3 May 1856) was a French composer and music critic. A prolific composer of operas and ballets, he is best known today for his ballets Giselle (1844) and Le corsaire (1856, his last work), his operas Le postillon de Lonjumeau (1836), Le toréador (1849) and Si j'étais roi (1852, often regarded as his finest work), and his Christmas carol "Minuit, chrétiens!" ("O Holy Night") (1847). Adam was also a noted teacher. Léo Delibes was among his pupils.

Biography

Adolphe Adam (Royal College of Music, London).

Adolphe Adam was born in Paris to Louis Adam (1758–1848), who was also a composer, as well a professor at the Paris Conservatoire. His mother was the daughter of a physician. As a child, Adolphe Adam preferred to improvise music on his own rather than study music seriously. He entered the Paris Conservatoire in 1821, where he studied organ and harmonium under the celebrated opera composer François-Adrien Boieldieu. Adam also played the triangle in the orchestra of the Conservatoire; however, he did not win the Prix de Rome and his father did not encourage him to pursue a music career.
By age 20, he was writing songs for Paris vaudeville houses and playing in the orchestra at the Gymnasie Dramatique, where he later became chorus master. Like many other French composers, he made a living largely by playing the organ. In 1825, he helped Boieldieu prepare parts for his opera La dame blanche and made a piano reduction of the score. Adam was able to travel through Europe with the money he made, and he met Eugène Scribe, with whom he later collaborated, in Geneva. By 1830, he had completed twenty-eight works for the theatre.
Adam is probably best remembered for the ballet Giselle (1841). He wrote several other ballets and 39 operas, including Le postillon de Lonjumeau (1836) and Si j'étais roi (1852).
After quarreling with the director of the Opéra, Adam invested his money and borrowed heavily to open a fourth opera house in Paris: the Théâtre National (Opéra-National). It opened in 1847, but closed because of the Revolution of 1848, leaving Adam with massive debts (Théâtre National later was resurrected under the name of Théâtre Lyrique at the Boulevard du Temple). His efforts to extricate himself from these debts include a brief turn to journalism. From 1849 to his death in Paris, he taught composition at the Paris Conservatoire.
His Christmas carol "Cantique de Noël", translated to English as "O Holy Night", is an international favorite, and is said to have been the first music broadcast on radio.^[1]
Adam is buried in Montmartre Cemetery in Paris.

[edit] Works

See List of operas by Adam and List of ballets by Adolphe Adam.

Taken from Wikipedia.org under the GNU Free Documentation License.

Adam de la Halle

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Adam de la halle

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Adam de la Halle, also known as Adam le Bossu (Adam the Hunchback) (1237?–1288) was a French-born trouvère, poet and musician, whose literary and musical works include chansons and jeux-partis (poetic debates) in the style of the trouveres, polyphonic rondel and motets in the style of early liturgical polyphony, and a musical play, "The Play of Robin and Marion", which is considered the earliest surviving secular French play with music. He was a member of the Confrérie des jongleurs et bourgeois d'Arras.
Adam's other nicknames, "le Bossu d'Arras" and "Adam d'Arras", suggest that he came from Arras, France. The sobriquet "the Hunchback" was probably a family name; Adam himself points out that he was not one.^[1] His father, Henri de le Hale, was a well-known Citizen of Arras, and Adam studied grammar, theology, and music at the Cistercian abbey of Vaucelles, near Cambrai. Father and son had their share in the civil discords in Arras, and for a short time took refuge in Douai. Adam had been destined for the church, but renounced this intention, and married a certain Marie, who figures in many of his songs, rondeaux, motets and jeux-partis. Afterwards he joined the household of Robert II, Count of Artois; and then was attached to Charles of Anjou, brother of Charles IX, whose fortunes he followed in Egypt, Syria, Palestine, and Italy.
At the court of Charles, after Charles became king of Naples, Adam wrote his Jeu de Robin et Marion, the most famous of his works. Adam's shorter pieces are accompanied by music, of which a transcript in modern notation, with the original score, is given in Coussemaker's edition. His Jeu de Robin et Marion is cited as the earliest French play with music on a secular subject. The pastoral, which tells how Marion resisted the knight, and remained faithful to Robert the shepherd, is based on an old chanson, Robin m'aime, Robin m'a. It consists of dialogue varied by refrains already current in popular song. The melodies to which these are set have the character of folk music, and are more spontaneous and melodious than the more elaborate music of his songs and motets. Fétis considered Le Jeu de Robin et Marion and Le Jeu de la feuillée forerunners of the comic opera.^[2] An adaptation of Le Jeu Robin et Marion, by Julien Tiersot, was played at Arras by a company from the Paris Opéra-Comique on the occasion of a festival in 1896 in honour of Adam de le Hale.
His other play, Le jeu Adan or Le jeu de la Feuillee (ca. 1262), is a satirical drama in which he introduces himself, his father and the citizens of Arras with their peculiarities. His works include a congé, or satirical farewell to the city of Arras, and an unfinished chanson de geste in honour of Charles of Anjou, Le roi de Sicile, begun in 1282; another short piece, Le jeu du pelerin, is sometimes attributed to him.
His known works include thirty-six chansons (literally, "songs"), forty-six rondets de carole, eighteen jeux-partis, fourteen rondeaux, five motets, one rondeau-virelai, one ballette, one dit d'amour, and one congé.

Contents [hide] 1 Notes 2 Example 3 Recording 4 References 5 External links

[edit] Notes

1. ^ Robert Falck, "Adam de la Halle", s.v., Grove Music Online [1] (subscription access), visited 25 March 2007.
2. ^ François-Joseph Fétis, Revue Musicale 1.1, 1827.

[edit] Example

	Adan, d’amour vous demant By Adam de la Halle, performed by Capilla Flamenca
Problems listening to this file? See media help.

[edit] Recording

• 2004 – Zodiac. Ars Nova and Ars Subtilior in the Low Countries and Europe Capilla Flamenca. Eufoda 1360.
• 
  
  Taken from Wikipedia.org under the GNU Free Documentation License.

Joseph Achron

From Wikipedia, the free encyclopedia

Joseph Yulyevich Achron, also seen as Akhron (Russian: Иосиф Юльевич Ахрон) (May 13, 1886 – April 29, 1943) was a Russian composer and violinist of Jewish origin, settled in USA. His preoccupation with Jewish elements and his desire to develop a 'Jewish' harmonic and contrapuntal idiom, underscored and informed much of his work. His friend the composer Arnold Schönberg described Achron in his obituary as "one of the most underrated modern composers".^{[1][unreliable source?]}, ^[2]

Biography

Achron was born in Lozdzieje, Russian Empire (now Lazdijai, Lithuania) and began the study of the violin under his father, an amateur violinist, at the age of five. His first public performance followed three years later at age seven in Warsaw. This was followed by a prodigious childhood career including performances throughout Russia. Between 1899 and 1904 he studied violin under legendary teacher Leopold Auer and composition under Anatoly Ljadov, at the Conservatory in St. Petersburg.
He joined the Society for Jewish Folk Music (formed in 1908) in 1911 and from that point occupied himself in theory and practice with the Jewish music tradition. His first 'Jewish' work ’’Hebrew Melody’’ became immediately recognised through the interpretation of violinist Jascha Heifetz. In 1913 Achron became the head of the violin and chamber music departments at the Kharkiv Conservatory in Russia, and served in the Russian Army between 1916 and 1918. In the years after World War I he toured extensively as a concert artist in Europe, the Near East and Russia, performing over 1000 concerts between 1919 and 1922. During this period he was appointed head of the violin masterclass and chamber music department at the Leningrad Artists' Union. In 1922 Achron moved to Berlin, where he, together with Michail Gnesin, ran the Jewish music publishing company "Yivneh". In 1924 Achron spent some months in Palestine.
In 1925 he emigrated to the United States and settled in New York, where he taught the violin at the Westchester Conservatory. He performed his Violin Concerto No. 1 with the Boston Symphony Orchestra in 1927. His incidental music suite from H. Leivick's The Golem, also written during this period, was chosen by the ISCM for performance in Venice in 1932.
In 1934 he moved to Hollywood, where he composed music for films and continued his career as a concert violinist. He performed his Violin Concerto No. 2 with the Los Angeles Philhamonic Orchestra in 1936 and his third (commissioned by Jascha Heifetz) with the same orchestra in 1939. Atonality and polytonality are among the techniques used in his later works. His final work was the Concerto for solo piano, Op. 74. He died in Hollywood, CA in 1943.
He was the brother of the pianist and composer Isidor Achron, who became Jascha Heifetz's accompanist.

[edit] Selected works

[edit] Orchestral

• Hebrew Melody, Op. 33, for violin and orchestra (1911)
• Hazzan, Op. 34, for cello and orchestra (1912)
• 2 Hebrew Pieces, Op. 35 (1913)
• Dance Improvisation, Op. 37 (circa 1913)
• Shir, Op. 42, dance for clarinet and orchestra (1917)
• 2 Pastels, Op. 44, for violin and orchestra (1917)
• The Fiddle's Soul, Op. 50 (1920)
• Violin Concerto No. 1, Op. 60 (1925)
• Konzertanten-Kapelle, Op. 64, for violin and orchestra (1928)
• Two Tableaux from Belshazzar (1931)
• The Golem, suite for chamber orchestra (1932)
• Dance Overture (1932)
• Little Dance Fantasy (1933)
• Violin Concerto No. 2, Op. 68 (1933)
• Violin Concerto No. 3, Op. 72 (1937)

[edit] Choral

• Epitaph (in memory of Skryabin), Op. 38, for four voices and orchestra (1915)
• Salome’s Dance, Op. 61, for mixed voices, piano and percussion (1925) / (1966)
• Evening Service of the Sabbath, Op. 67, for baritone voice, four voices and organ (1932) - commissioned by Congregation Emanue-El of New York City, published by Bloch Publishing Company.

[edit] Chamber and Instrumental

• 1ère Suite en Style Ancien, Op. 21, for violin and piano (circa 1914) / (1923)
• Chromatic String Quartet, Op. 26 (circa 1915)
• Sonata No. 1, Op. 29, for violin and piano (circa 1915)
• Symphonic Variations and Sonata on a Palestinian Theme, Op. 39, for piano (circa 1916)
• Suite Bizarre, Op. 41, for violin and piano (circa 1917)
• Sonata No. 2, Op. 45, for violin and piano (circa 1917)
• Children's Suite, Op.57, for clarinet, string quartet and piano (circa 1925)
• Elegy, Op. 62, for string quartet (1927)
• 4 Improvisations, Op. 65, for string quartet (1927)
• Statuettes, Op. 66, for solo piano (1930)
• The Golem, for cello, trumpet, horn and piano (1931)
• Sinfonietta, Op. 71, for string quartet (1935)
• Concerto for solo piano, Op. 74

[edit] Miscellaneous

• Spring Night, ballet music for a short film (1935)

Taken from Wikipedia.org under the GNU Free Documentation License.

Jean-Baptiste Accolay

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This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2010)

Jean-Baptiste Accolay (17 April 1833 (Brussels, Belgium) – 19 August 1900 (Brugge, Belgium) was a Belgian violin teacher, violinist, conductor, and composer of the romantic period . His best known composition is a student concerto with only one movement in A minor. It was written in 1868 originally for violin and orchestra.
Accolay's Concerto in A minor has been played by many well-known violinists, including Itzhak Perlman. The liner notes for Perlman's recording of "Concertos from My Childhood" indicate that there are at least "seven works by the long forgotten French violinist and teacher Jean-Baptiste Accolay, whose concertos (including the one in question) were edited for publication by the Walloon virtuoso Mattieu Crickboom, a protege of the great Eugène Ysaÿe, and professor at the Royal Conservatory in Brussels." Accolay's Concerto in A minor (1868) is "one of the most enduring of all tutorial violin concertos, it is still regularly studied today.Though its executant demands are slight, this agreeably spontaneous piece highlights one of music's great paradoxes - that expressive power often derives from the simplest of technical means."

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Henry Abyngdon

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Henry Abyngdon, Abingdon or Abington (c. 1418 – September 1, 1497) was an English ecclesiastic and musician, perhaps the first to receive a university degree in music.

Biography

He may have been connected with the village of Abington in Cambridgeshire.^[1] Our earliest records of him state that he was a member of the household chapel of Duke of Gloucester from 1445-1447. He then succeeded John Bernard as succentor of Wells Cathedral on Nov. 24, 1447 (holding that post till his death) and a was a canon from 1458.^[1] He was admitted a Bachelor of Music at Cambridge on Feb. 22, 1463,^[2] this being the first musical degree recorded at any university. In addition to the succentorship at Wells, Abyngdon held the office of 'Master of the Song' of the Chapel Royal in London, to which he was appointed in May 1465 at an annual salary of forty marks, confirmed to him by a subsequent Act of Parliament in 1473-74. He was also made Master of St. Catherine's Hospital, Bedminster, Bristol, in 1478.^[1]

[edit] Reputation

He is said to have been pre-eminent both as a singer and an organist, although none of his works are known to have survived. Two Latin epitaphs on Abyngdon by Sir Thomas More have been preserved. In these he himself is styled 'nobilis,' and his office in London 'cantor'. One of them calls him

“

The best singer among thousands, and besides this the best organist too. (Millibus in mille cantor fuit optimus ille, Praeter et haec ista fuit optimus orgaquenista.)

”

Taken from Wikipedia.org under the GNU Free Documentation License.

Franz Abt

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Portrait of Franz Abt, from the cover of an edition of his songs

Franz Wilhelm Abt (22 December 1819 – 31 March 1885) was a German composer and choral conductor.^[1] He composed roughly 3,000 individual works mostly in the area of vocal music. Several of his songs were at one time universally sung, and have obtained a more or less permanent place in the popular repertory. During his lifetime, Abt was a renowned choral conductor and he spent much of the last three decades of his life working as a guest conductor with choirs throughout Europe and in the United States.

Biography

Abt was born at Eilenburg in Prussian Saxony, and showed musical talent at an early age. His father was a clergyman and a talented pianist, and it is he who gave Franz his earliest instruction in music. Like his father, Abt was interested in both music and theology, and he followed both pursuits at the Thomasschule Leipzig and the University of Leipzig with the ultimate intention of becoming a member of the clergy. While in school, Abt became friends with Albert Lortzing, Felix Mendelssohn, and Robert Schumann.^[2]
Upon the death of his father in 1837, Abt abandoned his theological studies and decided to concentrate entirely on music. It is at this time that he began to compose and publish music, mostly works for the piano which were written for performance in Leipzig's salons. In 1841 Abt became kapellmeister at Bernburg, then moved to Zurich in the same year where he became an immensely popular and skilled choirmaster, often conducting his own compositions. While in Zurich he was appointed director of almost all of the city's numerous choral societies in succession, often winning prizes for them. In 1852 Abt returned to Germany to become musical director at the court theater in Braunschweig where he served until 1882.^[2]
Abt also remained active as a choral conductor during his time in Braunschweig. He was appointed director of the Hofkapelle in 1855, serving in that position for many years. He was also frequently invited to conduct choirs in many capital cities of Europe during the 1850s through the 1880s, having at this point developed an international reputation. He notably toured the U.S. in 1872 where he was received with overwhelming enthusiasm by music critics and the public alike. By 1882, his busy schedule wore him down to a state of ill health and he was forced to retire to Wiesbaden where he died in 1885.^[2]

[edit] Music

Abt's compositions comprise more than 600 opus numbers which make up over 3,000 individual items. He was primarily a composer of vocal music and was particularly prolific in writing music for male choirs which he thought was lacking in sufficient literature. Indeed, his greatest successes in Germany and Switzerland were obtained in part-songs for men's voices. Abt was also successful in writing choral music for mixed choruses both a cappella and with either piano or orchestral accompianement. He also wrote numerous popular vocal art songs for solo voice, part songs for multiple voices, and several songs for children.^[2]

Franz Wilhelm Abt monument from 1960

Abt's compositional style betrays an easy fluency of invention, couched in pleasing popular forms, but without pretence to depth or individuality. Many of his songs, were at one time universally sung, and have obtained a more or less permanent place in the popular repertory. Due to their simple and melodic style some of Abt's songs, such as Wenn die Schwalben heimwärts ziehn and Die stille Wasserrose are easily mistaken for genuine folksong.^[2]
Abt's other compositions include three operas: Des Königs Scharfschütz, Die Hauptprobe, and Reisebekanntschaften. In the early part of his life Abt composed much for the piano, chiefly pieces of light salon character. These have never had the same popularity as his vocal works.^[2]

Taken from Wikipedia.org under the GNU Free Documentation License.

Jean Absil

From Wikipedia, the free encyclopedia

Jean Absil (October 23, 1893 – February 2, 1974) was a Belgian modernist music composer, organist, and professor at the Brussels Conservatory.

Biography

Absil was born in Bonsecours, Hainaut, Belgium. He was a pupil of Alphonse Oeyen, organist at the basilica of Bonsecours. From 1913 he studied organ and harmony at the Brussels Conservatory , but upon graduating, decided to concentrate on composition instead. In 1922 Absil won the Belgian Prix de Rome and in 1934 the Prix Rubens, which allowed him to travel to Paris, France. Here, he met fellow contemporary composers Ibert, Milhaud, and Honegger. Absil gained international prominence with the premiere of his first piano concerto (op. 30).^[1] In 1930, Absil began teaching harmony at the Brussels Conservatory, becoming a professor of Fugue 6 years later. Amongst his pupils there was Paul Danblon. He also taught at Chapelle Musicale Reine Elisabeth and the Etterbeek Music School. In 1955, he was elected to the Belgium Royal Academy. In 1974, at the age of 80, Absil died in Uccle, Brussels.

[edit] Compositions

Initially, Absil was influenced by the late Romantic school, particularly Richard Wagner and Richard Strauss. Around the time Absil made his trip to Paris in 1934, Absil began to adopt a more modern style. This included the use of polyphony and polymodal structures, influenced by contemporary composers such as Milhaud and Schoenberg.^[2]
The ear never suffers from an impression of tonal insecurity when listening to Absil’s music: while it is no longer possible to find a reference to the classical major or minor tonalities, the composer invents new modes, which he replaces for each piece. From these modes emerge chords which, even if they are different from the classical ones, also have an expressive sense (tension or resolution). Absil never practised a real atonality: the apparent tonal independence of the voices always resolves itself into a unique tonality.^[3]
Among his many compositions are the Ballade, op. 129, for solo piano (which is played with the left hand only) as well as 3 Pièces (played with the right one only).
Being a skilled pianist Absil composed a lengthy repertoire for the instrument, including three sonatinas (written in 1937, 1939, and 1965 respectively) and two Grand Suites. The Grand Suites (Op.110, composed in 1965) served as a tribute to Frederic Chopin. In 1946, he composed another work, Hommage à Schumann and eleven years later the Passacaglia in Memoriam Alban Berg, both of them for piano. He also composed one opera, Les voix de la mer, and a cycle of five symphonies, the first of which (op. 1) he composed at 27, when he was a pupil of Paul Gilson. It won the Prix Agniez in 1921. His last composition was the Piano Concerto no. 3, op. 162.

[edit] List of works (alphabetical)

based on the list of scores available at the Belgian Documentation Centre for Contemporary Music :

• A cloche-pied op. 139 - 1968, for children's voice and piano
• Alcools op. 43 - 1940, for 4 mixed voices a cappella
• Allegro brillante op. 132 - 1967, for 2 pianos
• Allegro brillante op. 132 - 1967, for piano and orchestra
• Alternances op. 140 - 1968, for piano
• Asymétries op. 136 - 1968, for 2 pianos
• Ballade op. 129 - 1966, for piano (left hand)
• Ballade op. 156 - 1971, for alto saxophone, piano and small orchestra
• Berceuse - 1932, for alto saxophone or viola or cello and small orchestra
• Berceuse - 1932, for cello or viola or alto saxophone and piano
• Bestiaire op. 58 - 1944, for mixed Choir a cappella
• Burlesque op. 100 - 1958, for oboe and piano
• Cache-cache op. 117 - 1963, for middle voice and piano
• Chacone op. 69 - 1949, for violin
• Chanson de quatre sous - 1942, for middle voice and piano
• Chansons de bonne humeur op. 49 - 1942, for two-part women's choir (S.-Mz.) and orchestra
• Chansons de bonne humeur op. 49 - 1942, for two-part women's choir and piano
• Chansons plaisantes - 2e recueil op. 94 - 1956, for two-part children's choir and piano
• Chansons plaisantes op. 88 - 1955, for 2 children's voices
• Cimetière - 1927, for middle voice and piano
• Cinq bagatelles op. 61 - 1944, for piano
• Cinq chansons de Paul Fort op. 18 - 1935, for 2 equal voices and piano
• Cinq choeurs - 1930, for three-part women's choir and piano
• Cinq mélodies - 1927, for middle voice and piano
• Cinq mélodies op. 12 - 1933, for Mezzo-Soprano and string quartet
• Cinq pièces faciles op. 138 - 1968, for clarinet or alto saxophone and piano
• Colas Chacha - ?, for large orchestra
• Colindas op. 87 - 1955, for three-part choir a cappella
• Concert à cinq op. 38 - 1939, for flute, violin, viola, cello and diatonic harp
• Concertino op. 42 - 1940, for cello and orchestra
• Concertino op. 42 - 1940, for cello and piano
• Concertino op. 122 - 1964, for viola and piano
• Concertino op. 122 - 1964, for viola and string orchestra
• Concerto grosso op. 60 - 1944, for wind quintet and string orchestra
• Concerto n°2 op. 124 - 1964, for violin and orchestra
• Concerto n°2 op. 124 - 1964, for violin and piano
• Concerto n°2 op. 131 - 1967, for 2 pianos
• Concerto n°2 op. 131 - 1967, for piano and orchestra
• Concerto n°3 op. 162 - 1973, for 2 pianos
• Concerto n°3 op. 162 - 1973, for piano and orchestra
• Concerto op. 11 - 1933, for violin and orchestra
• Concerto op. 11 - 1933, for violin and piano
• Concerto op. 30 - 1937, for 2 pianos
• Concerto op. 30 - 1937, for piano and orchestra
• Concerto op. 54 - 1942, for viola and orchestra
• Concerto op. 54 - 1942, for viola and piano
• Concerto op. 155 - 1971, for guitar and small orchestra
• Contes op. 76 - 1951, for trumpet and piano
• Contrastes op. 143 - 1969, for 2 guitars
• Croquis pour un carnaval op. 137 - 1968, for clarinet quartet and diatonic harp
• Croquis sportifs op. 85 - 1954, for band
• Danses bulgares op. 103 - 1961, for band
• Danses bulgares op. 103 - 1959, for flute, oboe, clarinet, horn and bassoon
• Danses bulgares op. 103 - 1959, for piano
• De tijd - ?, for Children's choir and piano
• Déités op. 160 - 1972, for orchestra
• Deux danses rituelles op. 105 - 1960, for small orchestra
• Deux mélodies - 1933, for middle voice and piano
• Deux poèmes op. 53 - 1942, for Soprano and piano
• Divertimento op. 86 - 1955, for saxophone quartet and orchestra
• Du rythme à l'expression I op. 108 - 1961, for piano
• Du rythme à l'expression II op. 108 - 1961, for piano
• Echecs op. 96 - 1957, for piano
• Enfantines op. 52 - 1942, for middle voice and piano
• Epouvantail op. 74 - 1950, for orchestra
• Epouvantail op. 74 - 1950, for piano
• Esquisses sur les 7 péchés capitaux op. 83 - 1954, for piano
• Etude n°3 - 1963, for concert drum and piano
• Etude XI - ?, for 4 timpani and piano
• Etude XI - ?, for concert drum and piano
• Evasion op. 8 - 1927, for high voice and piano
• Fanfares op. 118 - 1963, for band
• Fantaisie - Caprice op. 152 - 1971, for alto saxophone and band
• Fantaisie - Caprice op. 152 - 1971, for saxophone and piano
• Fantaisie - Humoresque op. 113 - 1962, for clarinet and piano
• Fantaisie - Humoresque op. 113 - 1962, for clarinet and string orchestra
• Fantaisie concertante op. 99 - 1958, for violin and orchestra
• Fantaisie concertante op. 99 - 1958, for violin and piano
• Fantaisie rhapsodique op. 21 - 1936, for cello quartet
• Fantaisie op. 40 - 1939, for violin, viola, cello and piano
• Féeries op. 153 - 1971, for piano
• Grande suite n°2 op. 110 - 1962, for piano
• Grande suite op. 62 - 1944, for piano
• Heure de grâce op. 98 - 1958, for high voice and piano
• Hommage à Lekeu op. 35/bis - 1939, for orchestra
• Hommage à Schumann op. 67 - 1946, for piano
• Humoresques op. 126 - 1965, for piano
• Images stellaires op. 161 - 1973, for violin and cello
• Introduction et Valses op. 89 - 1955, for orchestra
• Jeanne d'Arc op. 65 - 1945, for orchestra
• L'album à colorier op. 68 - 1948, for two-part children's choir and piano
• La mort de Tintagiles op. 3 - 1926, for orchestra
• Le chant à l'école op. 144 - 1969, for Choir a cappella
• Le chapeau chinois (extr.) op. 64 - 1944, for Tenor and piano
• Le chapeau chinois op. 64 - 1944, for opera
• Le chapeau chinois op. 64 - 1944, for S. 2T. Bar. B. and piano
• Le cirque volant op. 82 - 1953, for choir (2 children's voices), Narrator and piano
• Le miracle de Pan op. 71 - 1949, for orchestra
• Le miracle de Pan op. 71 - 1949, for piano
• Le zodiaque op. 70 - 1949, for piano, choir (4 mixed voices), Soloists and orchestra
• Le zodiaque op. 70 - 1949, for Soloists, choir and 2 pianos
• Légendes op. 91 - 1956, for band
• Les bénédictions op. 48 - 1941, for Soloists, choir and piano
• Les bénédictions op. 48 - 1941, for Soloists, choir, large orchestra and organ
• Les chants du mort op. 55 - 1943, for mixed vocal quartet and orchestra
• Les chants du mort op. 55 - 1943, for mixed vocal quartet and piano - Soprano - Alto - Tenor - Bass
• Les météores op. 77 - 1951, for orchestra
• Les voix de la mer op. 75 - 1951, for opera
• Les voix de la mer op. 75 - 1951, for Soli, mixed choir speech choir and piano
• Les voix de la mer: Choeur aérien op. 75 - 1951, for women's choir
• Marines op. 36 - 1939, for piano
• Mythologie op. 84 - 1954, for large orchestra
• Nymphes et faunes op. 130 - 1966, for band
• Ouverture op. 75 - 1965, for opera
• Passacaille op. 101 - 1959, for piano
• Peau d'Ane op. 26 - 1937, for band
• Peau d'Ane op. 26 - 1937, for Soloists, speaking parts and orchestra
• Peau d'Ane op. 26 - 1937, for theatre music
• Peau d'Ane: Air de Peau d'Ane op. 26 - 1937, for Soprano and orchestra
• Peau d'Ane: Air de Peau d'Ane op. 26 - 1937, for Soprano and piano
• Peau d'Ane: Air du Prince op. 26 - 1937, for Tenor and orchestra
• Peau d'Ane: Air du Prince op. 26 - 1937, for Tenor and piano
• Peau d'Ane: Air du Roi op. 26 - 1937, for Bass and orchestra
• Peau d'Ane: Air du Roi op. 26 - 1937, for Bass and piano
• Peau d'Ane: Airs de ballet op. 26 - 1937, for chamber orchestra
• Peau d'Ane: Final du 3e acte op. 26 - 1937, for Soprano, Mezzo Soprano, Tenor, Bass and piano
• Peau d'Ane: Suite op. 26 - 1937, for chamber orchestra
• Petit bestiaire op. 151 - 1970, for guitar
• Petite suite op. 20 - 1935, for band
• Petite suite op. 20 - 1935, for chamber orchestra
• Petite suite op. 20 - 1935, for fanfare
• Petites polyphonies op. 128 - 1966, for 2 equal voices and piano
• Phantasmes - 1936, for Contralto, alto saxophone, percussion and piano
• Philatélie op. 46 - 1940, for mixed vocal quartet and 14 instruments
• Philatélie op. 46 - 1940, for Soprano, Mezzo Soprano, Tenor, Bass and piano
• Pièces caractéristiques op. 123 - 1964, for guitar
• Pièces en quatuor op. 35 - 1938, for saxophone quartet
• Pierre Breughel l'Ancien op. 73 - 1950, for Soloists, choir and piano
• Pierre Breughel l'Ancien op. 73 - 1950, for Soloists, mixed choir, speech choir, Narrator, large orchestra and organ
• Poésie et vélocité op. 157 - 1972, for piano
• Prélude et barcarolle - ?, for guitar
• Printemps op. 59 - 1944, for children's voices with piano accompaniment
• Quatre esquisses op. 154 - 1971, for flute, oboe, clarinet and bassoon
• Quatre pièces op. 150 - 1970, for guitar
• Quatre poèmes op. 12 - 1933, for middle voice and piano
• Quatuor à clavier op. 33 - 1938, for violin, viola, cello and piano
• Quatuor à cordes n°1 op. 5 - 1929, for 2 violins, viola and cello
• Quatuor à cordes n°2 op. 13 - 1934, for 2 violins, viola and cello
• Quatuor à cordes n°3 op. 19 - 1935, for 2 violins, viola and cello
• Quatuor à cordes n°4 op. 47 - 1941, for 2 violins, viola and cello
• Quatuor n°2 op. 28 - 1937, for cello quartet
• Quatuor op. 31 - 1937, for 4 saxophones
• Quatuor op. 132 - 1967, for 4 clarinets
• Quintette op. 16 - 1934, for flute, oboe, clarinet, horn and bassoon
• Rêves op. 80 - 1952, for middle voice and piano
• Rhapsodie brésilienne op. 81 - 1953, for band
• Rhapsodie brésilienne op. 81 - 1953, for orchestra
• Rhapsodie bulgare op. 104 - 1960, for orchestra
• Rhapsodie flamande op. 4 - 1928, for band
• Rhapsodie flamande op. 4 - 1928, for orchestra
• Rhapsodie n°2 op. 34 - 1938, for orchestra
• Rhapsodie n°5 op. 102 - 1959, for 2 pianos
• Rhapsodie n°5 op. 102 - 1959, for band
• Rhapsodie n°6 op. 120 - 1963, for horn and piano
• Rhapsodie roumaine op. 56 - 1943, for violin and orchestra
• Rhapsodie roumaine op. 56 - 1943, for violin and piano
• Rites op. 79 - 1952, for band
• Roumaniana op. 92 - 1956, for band
• Sicilienne - 1950, for flute or clarinet or saxophone and piano or harp
• Silhouettes op. 97 - 1958, for flute and piano
• Six choeurs I op. 18 - 1935, for children's choir and piano (1 voice)
• [divers], for
• Six choeurs II op. 18 - 1935, for two-part children's choir and piano
• Paul Fort, for
• Six poèmes de Maurice Carême op. 109 - 1961, for 3 equal voices
• Maurice Carême, for
• Sonate op. 115 - 1963, for alto saxophone and piano
• Sonate op. 134 - 1967, for violin
• Sonate op. 146 - 1970, for violin and piano
• Sonatine en duo op. 112 - 1962, for violin and viola
• Sonatine n°2 op. 37 - 1939, for piano
• Sonatine op. 27 - 1937, for piano
• Suite bucolique op. 95 - 1957, for string orchestra
• Suite mystique op. 145 - 1969, for flute quartet
• Suite n°2 op. 141 - 1968, for cello and piano
• Suite pastorale op. 37 - 1939, for flute, oboe, clarinet, horn and bassoon
• Suite pastorale op. 37 - 1939, for piano
• Suite sur des thèmes populaires roumains op. 90 - 1956, for saxophone quartet
• Suite op. 51 - 1942, for cello and piano
• Suite op. 78 - 1952, for trombone, tuba or cello and piano
• Suite op. 92 - 1956, for small orchestra
• Suite op. 114 - 1963, for guitar
• Suite op. 135 - 1967, for 2 guitars
• Suite op. 149 - 1970, for trumpet in C or B flat and piano
• Sur un paravent chinois op. 147 - 1970, for guitar
• Symphonie n°1 en ré mineur op. 1 - 1920, for orchestra
• Symphonie n°2 op. 25 - 1936, for large orchestra
• Symphonie n°3 op. 57 - 1943, for orchestra
• Symphonie n°4 op. 142 - 1969, for large orchestra
• Symphonie n°5 op. 148 - 1970, for large orchestra
• Tahi - Taho op. 8 - 1932, for middle voice and piano
• Thrène op. 66 - 1945, for two-part choir (equal voices), organ and 2 Narrators
• Trente études préparatoires à la polyrythmie op. 107 - 1961, for piano
• Trente études préparatoires à la polyrythmie op. 107 - 1961, for piano
• Trio à cordes n°1 op. 17 - 1935, for violin, viola, cello
• Trio à cordes n°2 op. 39 - 1939, for violin, viola, cello
• Trio n°2 op. 158 - 1972, for violin, cello and piano
• Trio op. 7 - 1931, for violin, cello and piano
• Triptyque op. 106 - 1960, for small orchestra
• Trois choeurs op. 15 - 1934, for 4 men's voices a cappella
• Trois impromptus op. 10 - 1932, for piano
• Trois pièces op. 32 - 1938, for piano
• Trois pièces op. 32 - 1938, for piano (right hand)
• Trois pièces op. 119 - 1963, for 2 guitars
• Trois pièces op. 121 - 1964, for bandoneon
• Trois Pièces op. 127 - 1965, for organ
• Trois poèmes d'Arthur Cantillon op. 9 - 1932, for 4 unaccompanied mixed voices
• Trois poèmes de Tristan Klingsor op. 45 - 1940, for middle voice and piano
• Trois poèmes de Tristan Klingsor op. 45 - 1940, for middle voice and small orchestra
• Trois vocalises op. 116 - 1963, for middle voice and piano
• Ulysse et les Sirènes op. 41 - 1939, for 1 Bar., 2 Narr., men's choir, women's choir and piano
• Ulysse et les Sirènes op. 41 - 1939, for Soloists (1 Bar., 2 Narrators), men's choir, women's choir and small orchestra
• Variations symphoniques op. 50 - 1942, for large orchestra
• Variations op. 93 - 1956, for piano
• Zoo op. 63 - 1944, for vocal quartet a cappella

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