Schmitt, Florent. (1870–1858). Autograph Letter. 1 page. Letterhead of the Institut de France. 26 April, 1941. Signed "Florent Schmitt." To the head of The Académie du Disque Français, Michel de Bry ["Cher Ami"]. Paper-clip stain at top margin, otherwise in very fine condition. An interesting and rather scarce letter from the influential French composer, pianist and critic.
In French, translated: "I love the Orient as my third homeland - without neglecting that Italy - where I lived - is the second - I cherish my voyages in Arabia, in Persia, in Afghanistan, and others of those unforgettable small countries nearby countries, even if I am ignorant of their languages. Also, I would wish for the initiative to acclimate to all of the complex and indispensible idioms recorded on the disk of Tower of Babel. [Signature followed by short postscript] Thank you for the photograph - but I am sad that our beautiful Antoinette is not shown there."
"Throughout his life, Schmitt was valued for his independent spirit and refusal to be identified with any school or group....Schmitt was considered a pioneer during his lifetime, rejected by some and embraced by others for a style that influenced and helped prepare for later innovations by Stravinsky, Ravel, Honegger and Roussel." After winning he 1900 Prix de Rome and spending a period in Italy, "he indulged his passion for travel, undertaking trips to Russia and North Africa, and in the autumn of 1903 accepting a French government mission to visit Greece and Turkey. Travel represented to him a symbol of freedom and a release from intellectual and social boundaries. Some of the works he composed during this time reflect these experiences: the piano duets, Feuillets de voyage and Reflets d'Allemagne (eight waltzes inspired by German and Austrian towns), the orchestral suite Musiques en plein air and the symphonic poem Sélamik (inspired by Islam and conceived for military band)." (Jann Pasler, Grove Online)
In French, translated: "I love the Orient as my third homeland - without neglecting that Italy - where I lived - is the second - I cherish my voyages in Arabia, in Persia, in Afghanistan, and others of those unforgettable small countries nearby countries, even if I am ignorant of their languages. Also, I would wish for the initiative to acclimate to all of the complex and indispensible idioms recorded on the disk of Tower of Babel. [Signature followed by short postscript] Thank you for the photograph - but I am sad that our beautiful Antoinette is not shown there."
"Throughout his life, Schmitt was valued for his independent spirit and refusal to be identified with any school or group....Schmitt was considered a pioneer during his lifetime, rejected by some and embraced by others for a style that influenced and helped prepare for later innovations by Stravinsky, Ravel, Honegger and Roussel." After winning he 1900 Prix de Rome and spending a period in Italy, "he indulged his passion for travel, undertaking trips to Russia and North Africa, and in the autumn of 1903 accepting a French government mission to visit Greece and Turkey. Travel represented to him a symbol of freedom and a release from intellectual and social boundaries. Some of the works he composed during this time reflect these experiences: the piano duets, Feuillets de voyage and Reflets d'Allemagne (eight waltzes inspired by German and Austrian towns), the orchestral suite Musiques en plein air and the symphonic poem Sélamik (inspired by Islam and conceived for military band)." (Jann Pasler, Grove Online)
Schmitt, Florent. (1870–1858). Autograph Letter. 1 page. Letterhead of the Institut de France. 26 April, 1941. Signed "Florent Schmitt." To the head of The Académie du Disque Français, Michel de Bry ["Cher Ami"]. Paper-clip stain at top margin, otherwise in very fine condition. An interesting and rather scarce letter from the influential French composer, pianist and critic.
In French, translated: "I love the Orient as my third homeland - without neglecting that Italy - where I lived - is the second - I cherish my voyages in Arabia, in Persia, in Afghanistan, and others of those unforgettable small countries nearby countries, even if I am ignorant of their languages. Also, I would wish for the initiative to acclimate to all of the complex and indispensible idioms recorded on the disk of Tower of Babel. [Signature followed by short postscript] Thank you for the photograph - but I am sad that our beautiful Antoinette is not shown there."
"Throughout his life, Schmitt was valued for his independent spirit and refusal to be identified with any school or group....Schmitt was considered a pioneer during his lifetime, rejected by some and embraced by others for a style that influenced and helped prepare for later innovations by Stravinsky, Ravel, Honegger and Roussel." After winning he 1900 Prix de Rome and spending a period in Italy, "he indulged his passion for travel, undertaking trips to Russia and North Africa, and in the autumn of 1903 accepting a French government mission to visit Greece and Turkey. Travel represented to him a symbol of freedom and a release from intellectual and social boundaries. Some of the works he composed during this time reflect these experiences: the piano duets, Feuillets de voyage and Reflets d'Allemagne (eight waltzes inspired by German and Austrian towns), the orchestral suite Musiques en plein air and the symphonic poem Sélamik (inspired by Islam and conceived for military band)." (Jann Pasler, Grove Online)
In French, translated: "I love the Orient as my third homeland - without neglecting that Italy - where I lived - is the second - I cherish my voyages in Arabia, in Persia, in Afghanistan, and others of those unforgettable small countries nearby countries, even if I am ignorant of their languages. Also, I would wish for the initiative to acclimate to all of the complex and indispensible idioms recorded on the disk of Tower of Babel. [Signature followed by short postscript] Thank you for the photograph - but I am sad that our beautiful Antoinette is not shown there."
"Throughout his life, Schmitt was valued for his independent spirit and refusal to be identified with any school or group....Schmitt was considered a pioneer during his lifetime, rejected by some and embraced by others for a style that influenced and helped prepare for later innovations by Stravinsky, Ravel, Honegger and Roussel." After winning he 1900 Prix de Rome and spending a period in Italy, "he indulged his passion for travel, undertaking trips to Russia and North Africa, and in the autumn of 1903 accepting a French government mission to visit Greece and Turkey. Travel represented to him a symbol of freedom and a release from intellectual and social boundaries. Some of the works he composed during this time reflect these experiences: the piano duets, Feuillets de voyage and Reflets d'Allemagne (eight waltzes inspired by German and Austrian towns), the orchestral suite Musiques en plein air and the symphonic poem Sélamik (inspired by Islam and conceived for military band)." (Jann Pasler, Grove Online)