View source for Emmanuel Chabrier

{{short description|French composer and pianist (1841–1894)}}
{{about|the composer and pianist|other people of the same name|Chabrier (surname)}}
{{Use dmy dates|date=September 2022}}
[[File:Emmanuel Chabrier.jpg|thumb|alt=head and shoulders photograph of middle-aged white man with short beard and moustache|Chabrier in 1882]]
'''Alexis-Emmanuel Chabrier''' ({{IPA|fr|ɛmanɥɛl ʃabʁie|lang}}; 18 January 1841{{spaced ndash}}13 September 1894) was a French [[Romantic music|Romantic]] composer and pianist. His [[Bourgeoisie|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 (Chabrier)|España]]'' and ''[[Joyeuse marche]]'', Chabrier left a [[List of operas and operettas by Emmanuel Chabrier|corpus of operas]] (including ''[[L'étoile (opera)|L'étoile]]''), 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 [[Claude Debussy|Debussy]], [[Maurice Ravel|Ravel]], [[Richard Strauss]], [[Erik Satie|Satie]], [[Igor Stravinsky|Stravinsky]], and the group of composers known as [[Les Six]]. Writing at a time when French musicians were generally proponents or opponents of the music of [[Richard Wagner|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===
[[File:Chabrier's-birthplace.jpg|thumb|alt=19th-century provincial French street scene with smart buildings|Chabrier's birthplace in [[Ambert]]]]

Chabrier was born in [[Ambert]], ([[Puy-de-Dôme]]), a town in the [[Auvergne (région)|Auvergne]] region of central France.<ref name=grove>Huebner, Steven. [https://doi.org/10.1093/gmo/9781561592630.article.05351 "Chabrier, (Alexis-)Emmanuel"], ''Grove Music Online'', Oxford University Press, 2001. Retrieved 15 September 2018 {{subscription required}}</ref> He was the only son of a lawyer, Jean Chabrier, and his wife, Marie-Anne-Evelina, ''née'' Durosay or Durozay.<ref name=s4>Servières, p. 4</ref><ref>Poulenc, p. 23</ref> The Chabriers were of old Auvergne stock, originally of peasant origin (the surname comes from "chevrier" – goat-herd), but in recent generations merchants and lawyers had predominated in the family.<ref name=p463>Prod'homme, p. 463</ref> A key member of the household was the boy's nanny Anne Delayre (whom he called "Nanine" and "Nanon"), who remained close to him throughout her life.<ref name=p463/>{{refn|(Dates 1819–1891), she became more than a servant to Chabrier's parents, and on their deaths in 1869 insisted on remaining as domestic to Emmanuel for no pay; she was nanny to his children, and a key link to his Auvergnat childhood.<ref>Correspondance: 64–2 n5</ref>|group= n}}

Chabrier began taking music lessons at the age of six; his early teachers were from cosmopolitan backgrounds: at Ambert he studied with a [[Carlist Wars|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 .<ref name=p463/> The earliest of Chabrier's compositions to survive in manuscript are piano works from 1849.<ref name=grove/> A piano piece, ''Le Scalp!!!'' (1856) was later modified into the ''Marche des Cipayes'' (1863). The first piece to which the composer gave an opus number was a waltz for piano, ''Julia'', op. 1, 1857.<ref name=grove/>

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.<ref>Poulenc, p. 24</ref> He moved the family to Paris in 1856, so that Chabrier could enrol at the [[Lycée Saint-Louis]].<ref name=s4/> From there Chabrier went on to law school, but did not neglect music, continuing his studies in composition, violin and piano.<ref name=groveopera>Soumagnac, Myriam. [https://doi.org/10.1093/gmo/9781561592630.article.O009051 "Chabrier, (Alexis-)Emmanuel – Opera"], ''Grove Music Online'', Oxford University Press, 1992. Retrieved 15 September 2018 {{subscription required}}</ref> After graduating from the law school in 1861 he joined the French civil service at the [[Minister of the Interior (France)|Ministry of the Interior]], where he worked for nineteen years.<ref name=grove/>

===Paris: dual harness ===
Chabrier was well regarded at the ministry,<ref name=grove/> but his passion was music, to which he devoted his free time. He continued his studies, with teachers including Edouard Wolff ([[:de: Edouard Wolff|de]]) (piano), Richard Hammer (violin), Théophile Semet ([[:fr: Théophile Semet|fr]]) and [[Aristide Hignard]] (both composition).<ref name=p451>Prod'homme, p. 451</ref> 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."<ref name=p452>Prod'homme, p. 452</ref>

From 1862 Chabrier was among the circle of the [[Parnassianism|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 [[Jacques Offenbach|Offenbach]], ''[[Vaucochard et fils Ier]]''. He did not complete it, but four fragments (dating from about 1864 or 1865) have survived. His full-time official post severely restricted Chabrier's ability to compose large-scale works. He began an opera on a [[John Hunyadi|Hungarian historical theme]] entitled ''Jean Hunyade'', to a libretto by [[Henry Fouquier]], but abandoned it, after completing four numbers, in 1867.<ref name=groveopera/> 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.<ref>Delage 1999, p. 109 (libretto and score have not survived)</ref> 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.<ref name=p452/>{{refn|Some sources date ''Fisch-Ton-Kan'' as the earlier of the two collaborations.<ref name=grove/>|group= n}} He did not set any poems by Villiers de L'Isle Adam or Verlaine, although the latter wrote a sonnet ''À Emmanuel Chabrier'' (published in ''Amour'', 1888) as a remembrance of their friendship.<ref>Correspondance: 88–112.</ref>

[[File:Chabrier-by-Detaille.jpg|thumb|alt=sketch of a man in top hat and overcoat vigorously playing a grand piano|Chabrier by [[Édouard Detaille]] (1873)]]
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 [[Franz Liszt|Liszt]] and [[Anton Rubinstein|Rubinstein]] – have surpassed."<ref>Myers, p. 50</ref> The composer and critic [[Alfred Bruneau]] said of Chabrier, "he played the piano as no one has ever played it before, or ever will…"<ref>Myers, p. 6</ref> The wife of the painter [[Pierre-Auguste Renoir|Renoir]], a friend of the composer, wrote: 
{{blockquote|One day Chabrier came; and he played his ''[[España (Chabrier)|España]]'' for me. It sounded as if a hurricane had been let loose. He pounded and pounded the keyboard. [The street] was full of people, and they were listening, fascinated. When Chabrier reached the last crashing chords, I swore to myself I would never touch the piano again […] Besides, Chabrier had broken several [[Piano wire|strings]] and put the piano out of action."<ref>Stove, p. 236; and Myers, p. 28</ref>}}

Both Chabrier's parents died within the space of eight days in 1869.<ref name=s10>Servières, p. 10</ref> During the [[Franco-Prussian War]] (1870–1871) and [[Paris Commune|Commune]], he continued in his official post as the ministry moved from [[Tours]] to [[Bordeaux]] then to [[Versailles (city)|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]].<ref>Delage, 1999, p.166-168.</ref> Alice and Chabrier had three sons, one of whom died at birth.<ref name=s10/><ref>Delage (1982), p. 24</ref><ref>Correspondance: 83-13n – the youngest, André, was born in the ladies only room at the [[Gare de Lyon]], Bercy, on 28 April 1879.</ref> Chabrier's friends in Paris included the composers [[Gabriel Fauré]], [[Ernest Chausson]], and Vincent d'Indy;<ref>Poulenc, p. 26</ref> 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]].<ref>Myers, p. 7</ref>

During the 1870s Chabrier began several stage works. The first to be completed was a three-act opéra-bouffe ''[[L'étoile (opera)|L'étoile]]'' (The Star), commissioned by the [[Théâtre des Bouffes-Parisiens|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.<ref>Poulenc, p. 30</ref> The opera was modestly successful, running for 48 performances in 1877, but was not revived in his lifetime.{{refn|[[Francis Poulenc]], citing an earlier biographer of Chabrier, René Martineau, suggests that the run was deliberately curtailed by the theatre management to avoid costly royalty payments after notching 50 performances.<ref name=p31/> |group= n}} 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.<ref name=grove/> Above all, as a result of '' L'étoile'' he ceased to be regarded as a talented amateur.<ref name=p31>Poulenc, p. 31</ref> The same year Saint-Saens gave the first public performance of his 1865 Impromptu,<ref>Delage p.688 (dedicated to Madame Manet)</ref> his first piano piece of real importance with his personal stamp of originality.<ref>Myers, p.109.</ref>

===Full-time composer===
[[File:Edouard Manet Emmanuel Chabrier.jpg|alt=painting of white man, balding, with neat moustache and beard|thumb|upright|Chabrier, 1880, by [[Édouard Manet|Manet]], [[Ordrupgaard#The French Fine Arts Collection|Ordrupgaard Museum]], Denmark]]
Like many progressively-minded French composers of the time, Chabrier was greatly interested in the music of [[Richard Wagner|Wagner]]. As a young man he had copied out the full score of ''[[Tannhäuser (opera)|Tannhäuser]]'' to gain an insight into the composer's creative process.<ref name=grove/> On a trip to [[Munich]] with [[Henri Duparc (composer)|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.<ref>Delage p.243</ref> 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".<ref name=p453>Prod'homme, p, 453</ref>

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."<ref name=grove/>

The project to which Huebner refers was the operatic tragedy ''[[Gwendoline (opera)|Gwendoline]]'', on which Chabrier had begun working in 1879.<ref>Poulenc, p. 46</ref> The librettist was [[Catulle Mendès]], described by the pianist and scholar [[Graham Johnson (musician)|Graham Johnson]] as "a relentlessly ambitious member of the literary establishment".<ref name=j279>Johnson, p. 279</ref> Mendès wrote texts that were set by at least seven French composers, including Fauré, [[Jules Massenet|Massenet]], [[Claude Debussy|Debussy]] and [[André Messager|Messager]]; none of his operatic works were successful, and Johnson rates the libretto for ''Gwendoline'' as "catastrophic".<ref name=j279/> Chabrier worked on the piece until 1885.<ref name=groveopera/>

The conductor [[Charles Lamoureux]] appointed Chabrier as his [[choirmaster|chorus master]] and [[répétiteur]], and included his music in the [[Orchestre Lamoureux|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 [[François Couperin|Couperin]] and [[Jean-Philippe Rameau|Rameau]]".<ref>''Quoted'' in Howat, p. x</ref> Chabrier travelled to London (1882) and Brussels (1883) to hear Wagner's ''[[Der Ring des Nibelungen|Ring]]'' cycle,<ref>Delage (1982), p. 25</ref> and in 1882 Chabrier and his wife visited Spain, which resulted in his most famous work, ''España'' (1883), 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.<ref name="Poulenc, p. 43">Poulenc, p. 43</ref> Admirers included [[Manuel de Falla|de Falla]], who stated that he did not think any Spanish composer had succeeded in achieving so genuine a version of the [[Jota (music)|jota]] as in the piece,<ref>De Falla, Manuel. ''Manuel de Falla – On Music and Musicians'', with introduction and notes by Federico Sopeña, translated by David Urman and J M Thomson. Marion Boyars, London & Boston, 1950, 1979, p95 (in Notes on Maurice Ravel, dated 1939).</ref>

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 (critic)|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".<ref>Mann, William. University and Student performances – Gwendoline. ''[[Opera (British magazine)|Opera]]'' – May 1983, Vol 34 No 5, p568, 570.</ref>

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|Joyeuse Marche]]. He then found a new lyric project to tackle&nbsp;– ''[[Le roi malgré lui]]'' (The King in Spite of Himself)&nbsp;– 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.<ref>Poulenc, p. 56</ref> 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.<ref>Delage (1963), pp. 80 and 82–83</ref> In July 1888 he was appointed as a [[Chevalier de la Légion d'honneur]].<ref name=p58/>

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".<ref>Myers, p. 137</ref> He expressed himself in "[[François Rabelais|Rabelaisian]] language" and "laced with a profusion of racy slang".<ref>Myers, p. 129</ref> 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 (sometimes with musical quotations),<ref>Correspondance, 89–14 is a message set to music to d'Indy.</ref> negotiations with publishers, and one a commiseration with his son André on the death of his pet bird (with gentle reproach for having over-fed the creature).<ref>Correspondence 92–24</ref>

===Decline and final years===
[[File:Tombe Emmanuel Chabrier, Cimetière du Montparnasse.jpg|thumb|alt=funerary monument with bust of man on the top|upright|Chabrier's tomb, Montparnasse cemetery (division 9), Paris.]]
In his final years, Chabrier was troubled by financial problems caused by the collapse of his bankers, failing health brought on by the terminal stage of [[syphilis]], and depression about the neglect of his stage works in France. The death of his beloved "Nanine" in January 1891 greatly affected him. In 1892, he  wrote to his friend [[Charles Lecocq]], "Never has an artist more loved, more tried to honour music than me, none has suffered more from it; and I will go on suffering from it for ever".{{refn|"Jamais un artiste n'aura plus adoré, plus cherché que moi à honorer la musique, nul n'en aura plus souffert; et j'en souffrirai éternellement".<ref>Desaymard, p. 323</ref><ref>Correspondance: 92–88</ref>|group= n}}  He became obsessed with the composition of his final opera ''[[Briséïs]]'', which was inspired by a tragedy of [[Johann Wolfgang von Goethe|Goethe]] and has melodic echoes of Wagner; he completed only one act. The Paris première of ''Gwendoline'', finally took place in December 1893. The composer, ailing physically and mentally, sitting in a [[Box (theatre)|stage box]] with his family, enjoyed the music but did not realise he had written it, nor did he understand that the applause was for him.<ref>Prod'homme, p. 455</ref>

Chabrier succumbed to [[general paresis]] in the last year of his life and died in Paris at the age of 53.<ref name=grove/> Although he had asked to be buried near the tomb of Manet in the [[Passy Cemetery|Cimetière de Passy]], a plot was not available and he was interred in the [[Montparnasse Cemetery|Cimetière du Montparnasse]].<ref>Poulenc, p. 67</ref> His widow and children also suffered from probable infection: she had severe eye problems, becoming almost blind, and, after Chabrier's death, became paraplegic, dying aged 51; the eldest son, Marcel, died at 35 having also displayed related symptoms, and the second son, Charles, died after only five weeks, the youngest, André, also became paraplegic and died also aged 35.<ref>Girard, Jacques. Emmanuel Chabrier : d'Ambert à Paris. Champetières : Éd. de la Montmarie; [S.l.] : Parc Livradois-Forez, DL 2009, p248; in this chapter XXVIII Girard, a consultant in neuro-psychiatry, examines in detail Chabrier's illness.</ref>

==Works==
{{See also|List of compositions by Emmanuel Chabrier}}
Vincent d'Indy called Chabrier "that great primitive ... a very great artist".<ref>Poulenc, p. 75</ref> In ''[[The Oxford Companion to Music]]'' (2011), [[Denis Arnold]] and [[Roger Nichols (musical scholar)|Roger Nichols]] write that Chabrier's lack of a formal musical education at one of the major conservatoires allowed him the freedom to "bypass the normal paths of French music of the 1860s, and to explore a new harmonic idiom and especially a novel way of writing for the piano".<ref name=ocm>Arnold, Denis and Roger Nichols [http://www.oxfordreference.com/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-1260 "Chabrier, Emmanuel"], ''The Oxford Companion to Music'', Oxford University Press, 2011 {{subscription required}}</ref> Chabrier's musical language introduced several striking features. Among them, Huebner singles out a liking for melodies of wide range with large leaps from one note to the next; frequent doubling of melodies by the bass or in [[octave]]s; a mixture of orthodox and unorthodox [[harmony|chromatic]] decoration; and frequent use of [[Polyrhythm|cross-rhythms]] and [[syncopation]].<ref name=grove/> Chabrier is reported to have said, "My music rings with the stamp of my Auvergnat clogs", and the pianist and scholar [[Roy Howat]] points to examples of this in fast stamping rhythms in the ''[[Bourrée fantasque]]'', the ''Joyeuse marche'' and several of the ''Pièces pittoresques''.<ref>Howat, p. ix</ref>

===Orchestral===
[[File:Joyeuse marche-Chabrier.jpg|upright|alt=musical score with brightly illustrated cover|thumb|1890 edition of ''[[Joyeuse marche]]'']]
Duparc and Ravel both had reservations about Chabrier's skills as an orchestrator in his early works; Poulenc disagreed, feeling that Chabrier was a master of orchestration from an early stage.<ref name=p65>Poulenc, pp. 65–66; and Nichols, p. 117</ref> Poulenc wrote, "The fact that Chabrier always composed at the piano – as did Debussy and Stravinsky – did not prevent him from finding a rare orchestral colour: a unique achievement at a time when Franck, d'Indy and Saint-Saëns hardly ever emerged from well-worn paths".<ref name=p65/>

The work for which Chabrier is best known is his rhapsody ''España'', which became popular internationally (except in Spain, where it was not a success).{{refn|[[Isaac Albeniz]] disliked the piece, and Spanish audiences found it unintelligible.<ref>Poulenc, p. 41</ref>|group= n}} The rhythmic verve of ''España'' is found also in the ''Joyeuse marche'', which goes further in orchestral invention.<ref name=p58>Poulenc, p. 58</ref> Not all of Chabrier's orchestral pieces are in this exuberant vein: his ''Lamento'' (1874), unpublished in his lifetime, is an unusually poignant work.<ref>Battioni, Isabelle (1999). Notes to Naxos CD 8.554248  {{OCLC|884173078}}</ref>

A few of Chabrier's piano works were later orchestrated. The composer arranged the four movements of the ''[[Pièces pittoresques#Suite pastorale|Suite pastorale]]'' from the ten ''[[Pièces pittoresques]]''. Chabrier began an orchestration of ''[[Bourrée fantasque]]'' in 1891 (completed in 1994 by Robin Holloway) but his friend and champion Felix Mottl orchestrated it in 1898, proving popular; he did the same for '' [[Trois valses romantiques]]'' in 1900, and in 1917–18 Ravel arranged the "Menuet pompeux" from the ''Pièces pittoresques''.<ref name=grove/>

===Stage works===
{{See also|List of operas and operettas by Emmanuel Chabrier}}
Chabrier's ebullient orchestral works have always been popular with the public and critics, but there is less agreement about his serious stage works, and in particular the influence of the music of Wagner. For some critics, the Wagnerian ethos and French sensibilities are simply incompatible, and consequently much of the music of ''Gwendoline'' and ''Briséïs'' has been denigrated; others have argued that Chabrier so transformed his influences that the music does not sound especially Wagnerian.<ref name=grove/> Huebner puts the truth somewhere between the two, noting Wagner's influence in the similarities between ''Gwendoline'' and ''[[The Flying Dutchman (opera)|The Flying Dutchman]]'' and ''[[Tristan und Isolde|Tristan and Isolde]]'', but noting Chabrier's "un-Wagnerian concision", the retention of conventional self-contained numbers, and Chabrier's recognisable melodic and instrumental characteristics.<ref name=grove/> He suggests that preoccupation with supposed derivativeness has deprived the repertory of works such as ''Gwendoline'' "with substantial musical and dramatic interest".<ref name=hviii>Huebner, p. viii</ref>{{refn|Huebner applies this comment to d'Indy's ''[[Fervaal]]'' and [[Ernest Chausson|Chausson]]'s ''[[Le roi Arthus]]'' as well to ''Gwendoline''.<ref name=hviii/>|group= n}}
[[File:Théâtre national de l'Opéra Gwendoline-1893.jpg|thumb|left|alt=stage scene depicting old man at spinning wheel, talking to a young woman; both are in ancient Anglo-Saxon dress|Scene from first Paris production of ''Gwendoline'', 1893]]

''L'etoile'', an [[opéra bouffe]] in three acts (1877) was Chabrier's first modestly successful opera, and is the most often revived.<ref name=ob>[http://operabase.com/visual.cgi?id=org&lang=en&is=opera&by=Chabrier "Chabrier, (Alexis-)Emmanuel (1841–1894)"], OperaBase. Retrieved 16 September 2018</ref> Although the plot was described by a reviewer in 2016 as "wilfully unfathomable and illogical", the libretto was professional and polished, in contrast with other libretti set by Chabrier.<ref>Seymour, Claire, [http://www.operatoday.com/content/2016/02/emmanuel_chabri.php "Emmanuel Chabrier, L'Étoile – Royal Opera House London"], ''Opera Today'', 5 February 2016</ref> The critic [[Elizabeth Forbes (musicologist)|Elizabeth Forbes]] calls the score, "light as thistle-down … in the best tradition of Offenbachian opéra bouffe, with each singer perfectly characterized in his or her music".<ref>Forbes, Elizabeth. [https://doi.org/10.1093/gmo/9781561592630.article.O006124 "L'etoile"], ''Grove Music Online'', Oxford University Press, 1992. Retrieved 16 September 2018</ref>

''[[Une éducation manquée]]'' (An Incomplete Education), a one-act [[opérette]] about a young couple seeking essential advice on their wedding night, received a single private performance in 1879, and was not performed in public until 1913. Forbes wrote in 1992, "Why this charming little work had to wait so many years for a public performance remains a total mystery. The subject is treated with the greatest delicacy… Musically, the piece is quite enchanting, in particular the central duet for the two high voices, while the bass has a fine comic number."<ref>Forbes, Elizabeth. [https://doi.org/10.1093/gmo/9781561592630.article.O009980 "Une Education manquée"], ''Grove Music Online'', Oxford University Press, 1992. Retrieved 16 September 2018</ref>

Chabrier's only completed serious opera was ''Gwendoline'', composed between 1879 and 1885 and premiered in 1886. Mendès's libretto was a liability: [[Henri Büsser]] commented that it lacked the verve and movement the composer needed;<ref name=hb>Busser, Henri. [https://www.jstor.org/stable/44600730 "Emmanuel Chabrier"], ''Revue Des Deux Mondes'', May 1971, pp. 314–318. In French. {{subscription required}}</ref>{{refn|"Dans Gwendoline, le livret conventionnel de Catulle Mendès, quoique fort inspiré de la forme wagnérienne, n'a pas fourni au musicien ce qui lui était propre : la verve et le mouvement."<ref name=hb/>|group= n}} Poulenc was dismissive of "Mendès' ineptitudes … balderdash";<ref>Poulenc, pp. 27 and 50</ref> and another critic wrote in 1996, "Mendes's dramaturgy is not only painfully thin but takes a long time to get under way".<ref name=ls>Salter, Lionel. [https://www.gramophone.co.uk/review/chabrier-gwendoline "Chabrier: Gwendoline"], ''[[Gramophone (magazine)|Gramophone]]'', October 1996</ref> Arnold and Nichols comment that the work is considerably less Wagnerian than has often been supposed: "certainly the modal, asymmetrical, loosely articulated theme of the overture is individual to a degree".<ref name=ocm/> The music satisfied neither the pro- nor anti-Wagner lobby: Chabrier commented, "The ''wagnérien'' calls me a reactionary and the bourgeois considers me a ''wagnérien''".<ref>Huebner, p. 279</ref> The opera has been revived from time to time, but has not gained a regular place in the international repertory.<ref name=ob/>

Arnold and Nichols write that some of Chabrier's best music went into his comic opera ''Le Roi malgré lui'' (Opéra-Comique, 1887), "but unfortunately the work is saddled with one of the most complex and incomprehensible librettos of all time".<ref name=ocm/> Ravel so loved the piece that he said he would rather have written it than Wagner's ''[[Der Ring des Nibelungen|Ring]]'' cycle; reviewing a rare revival in 2003 the critic [[Edward Greenfield]] commented that despite the plot, the music made one see Ravel's point.<ref>Greenfield, Edward. [https://infoweb.newsbank.com/resources/doc/nb/news/0FC0B56916F258AA?p=UKNB "Le Roi Malgre Lui: Grange Park"], ''The Guardian'', 1 July 2003  {{subscription required}}</ref> After the same production, the critic [[Rupert Christiansen]] wrote, "''Le Roi malgre lui'' doesn't know whether it's a [[Carry On series on screen and stage|Carry On]] farce by Offenbach or a nationalist epic by Wagner. Perhaps "grand operetta" is the best way of describing this problem piece".<ref>Christiansen Rupert. [https://infoweb.newsbank.com/resources/doc/nb/news/0FC0B7B8C1AAB4E5?p=UKUK "Enjoyable despite itself"], ''The Daily Telegraph'', 1 July 2003 {{subscription required}}</ref>

Chabrier's last opera was ''Briséïs'', to another libretto by Mendès. Mortally ill, Chabrier could only complete the first of the projected three acts, and the remaining sketches were too inconclusive for any of his colleagues to attempt a completion.<ref name=gl>Larner, Gerald (1995). Notes to Hyperion CD CDH55428 {{OCLC|809033754}}</ref> It was to have been a romantic tragedy, set in Corinth during time of the Roman Empire. The existing act is rarely staged, but a recording of a concert performance in 1994 has been issued on CD.<ref name=gl/> Poulenc was unimpressed by the libretto, but Messager thought the music of ''Briséïs'' showed what heights Chabrier might have reached had he lived.<ref>Poulenc, pp. 63 and 77</ref>

===Piano===
Although the piano works are not the best known part of Chabrier's oeuvre, Poulenc put the cycle '' Pièces pittoresques'' on a par with Debussy's ''[[Préludes (Debussy)|Preludes]]'' in its importance for French music.<ref name=hix>Howat, p.ix</ref>{{refn|Poulenc wrote of his first experience of the music, "Even today it makes me tremble with emotion to think of the resultant miracle: a whole universe of [[harmony (music)|harmony]] suddenly opened up before of me, and my music has never forgotten this first kiss".<ref>Poulenc, p. 39</ref>|group= n}} In his introduction to a 1995 edition of the piano works, Howat writes that it was Chabrier, more than any other composer, who restored to French music "the essential French traits of clarity, emotional vitality, wit and tenderness" when other French composers were under the influence of Wagner or of dry academicism.<ref name=hix/>

Chabrier's early works were for piano solo, and in addition to a small corpus of about twenty completed mature works, some juvenilia have survived. Most of the piano pieces were published in the composer's lifetime, but five completed works and the unfinished ''Capriccio'' (1883) were issued posthumously.<ref name=rc>Cushman, Robert (1994) Notes to Vox CD set CDX 5108 {{OCLC|1004785844}}</ref>{{refn|Chabrier also made a transcription of Berlioz's ''[[Harold en Italie]]'' for piano duet, in 1876.<ref>Delage 1999 p.721</ref>|group= n}}

Some of the mature works are better known in their later orchestral versions, including the ''Joyeuse marche'' and the four numbers from the ''Pièces pittoresques'' that make up the ''Suite pastorale''. The trip to Spain that inspired ''España'' also gave Chabrier the material for a ''Habanera'' (1885) which became one of his most popular piano works.<ref name=rc/>

Among Chabrier's works for four hands is ''Souvenirs de Munich''. Although Wagner's ''Tristan und Isolde'' had made a deep impression on him, his irreverent nature led him to arrange five themes from the opera into a comic [[quadrille]]. Poulenc called it "irresistibly funny … Tristan's principal themes with false noses and added beards."<ref>Poulenc, p. 57</ref>{{refn|''Souvenirs de Bayreuth'', a similarly irreverent dance arrangement of themes from [[Wagner's Ring Cycle]] by Fauré and Messager is generally thought to have been composed after Chabrier's piece – ''[[Grove Dictionary of Music and Musicians|Grove's Dictionary of Music and Musicians]]'' estimates the date of Chabrier's piece as 1885–1886, and Fauré and Messager's as 1888 – but the original composition dates of both pieces are uncertain.<ref name=grove/><ref>Nectoux, Jean-Michel. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/09366 "Fauré, Gabriel (Urbain)"], ''Grove Music Online'', Oxford University Press. Retrieved 16 September 2018 {{subscription required}}</ref>|group= n}}

Vincent d'Indy wrote, after studying the ''[[Trois valses romantiques]]'' and playing them with the composer: "I thus worked on these three waltzes ''con amore'', doing my best to perform all the indications marked with the greatest precision... and there are many of them! In rehearsal, which was at Pleyel's, Chabrier stopped me dead in the midst of the first waltz, and, addressing me a look that was both amazed and arch, said: "But my dear boy it's not that at all!..." And, as not quite knowing how to react, I asked for explanations, he retorted: "You play that as if it were music by a Member of the Institute!..." And then I had a marvellous lesson in playing ''alla Chabrier''; contrary accents, pianissimi to the point of extinction, sudden fire-crackers bursting out in the middle of the most exquisite softness, and also indispensable gesturing, giving over the body, too, to the intention of the music".<ref>Roger Delage (translated by John Underwood). Essay accompanying Erato 4509 95309-2 : Emmanuel Chabrier – L'Oeuvre pour piano, Pierre Barbizet (with Jean Hubeau in piano four hands and two-piano works), 1995.</ref>

Chabrier was an important influence on Debussy, as he was later on Ravel and Poulenc;<ref>Orenstein, p. 219; and Poulenc, p. 54</ref> Howat has written that Chabrier's piano music such as "Sous-bois" and "Mauresque" in the ''Pièces pittoresques'' explored new sound-worlds of which Debussy made effective use 30 years later.<ref>DeVoto, Mark. [https://www.jstor.org/stable/40856242 "The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier"], ''Notes'', June 2010, p. 790 {{subscription required}} {{webarchive|url=https://web.archive.org/web/20180614165927/https://www.jstor.org/stable/40856242 |date=14 June 2018 }}</ref>

===Songs===
There are [[Songs of Emmanuel Chabrier|forty-three published songs]] by Chabrier. He began writing songs – ''mélodies'' – when he was about twenty-one; the first nine were written between 1862 and 1866. Johnson comments that it is strange that in all his songs Chabrier never set anything by his friend Verlaine, but among the well-known poets whose verse Chabrier set in the early songs were [[Théodore de Banville]] ("Lied") and [[Alfred de Musset]] ("Adieux à Suzon").<ref name=hype/>

In 1888 Chabrier made sixteen arrangements of French folk songs for an anthology called ''Le plus jolies chansons du pays de France''. He was among the first important composers to work with folk songs, a pioneer for Ravel,  [[Béla Bartók|Bartók]], [[Benjamin Britten|Britten]] and others.<ref name=hype/> Johnson writes that Chabrier's touch in these pieces is "deceptively light and restrained", but that the piano writing continually adds enormously to the charm of the music. A later group of songs (1889) with a linking theme is what Chabrier called his "poultry farm", to lyrics by [[Edmond Rostand]] and [[Rosemonde Gérard]], with subjects including fat turkeys, little ducklings, pink pigs and chirping cicadas.<ref name=hype/>

Most of the songs are for solo voice and piano, but there is one duet (the comic "Duo de l'ouvresse de l'Opéra-Comique", 1888) and in Chabrier's setting of [[Charles Baudelaire|Baudelaire]]'s "L'invitation au voyage" (1870), the voice and piano are joined by a solo bassoon. Chabrier's last song, "[[À la musique|Ode à la Musique]]", to words by Rostand, is for solo soprano, piano and female choir.<ref name=hype>Johnson, Graham (2002). Notes to Hyperion CD set CDA67133/4 {{OCLC|1002911049}}</ref>

==Influence==
The musicologist David Charlton evaluated his influence by saying "While the musical language of Reyer, Massenet and Saint-Saens presented syntheses of current practice, that of Emmanuel Chabrier (1841–1894) was a catalyst: his work became the cradle of French modernism".<ref>''[[Oxford History of Western Music|New Oxford History of Music]]. Romanticism 1830–1890.'' Vol IX, VI Opera 1850–90 (b) France – David Charlton. P405-409.</ref>
{{Quote box |quoted=true |bgcolor=#FFFFF0 |salign=center|quote = Ah! Chabrier, I love him as one loves a father! An indulgent father, always merry, his pockets full of tasty tit-bits. Chabrier's music is a treasure-house you could never exhaust. I just could not do without it. | source =  Francis Poulenc<ref>Poulenc and Audel, p. 54</ref>| align=right| width=33%}}
Debussy, Ravel and Poulenc all acknowledged Chabrier's influence on their music. Debussy wrote in 1893 "Chabrier, Moussorgsky, Palestrina, voilà ce que j'aime" – they are what I love,<ref>Howat (2011), p. 34</ref> and said that he could not have written ''[[La Damoiselle élue]]'' without Chabrier's ''La sulamite'' as a model. Huebner remarks on echoes of Chabrier in Debussy's "La soirée dans Grenade" in ''[[Estampes]]'', and the piano prelude "[[Préludes (Debussy)|Général Lavine – excentric]]".<ref name=grove/> The influence on Ravel is still more marked. In a 1975 study of the two composers, Delage wrote, "In truth there are few works by Ravel which do not to some extent echo one or another work of Chabrier and of which the harmonic procedures are not derived from him".<ref>Delage (1975), p. 550</ref> Ravel paid explicit homage to Chabrier in his ''A la manière de Chabrier'', based on Chabrier's piano piece ''Mélancolie''.<ref name=grove/>

Poulenc said that he had ''L'étoile'' in mind while he wrote ''[[Les mamelles de Tirésias]]''. Huebner comments that the influence of Chabrier on Poulenc and the other members of [[Les Six]] was particularly strong, although the later composers were more often drawn to the humorous, parodic side of Chabrier's oeuvre than to the romantic and serious.<ref name=grove/> Other French composers whose music shows the influence of Chabrier include [[Charles Lecocq]], Messager and [[Erik Satie|Satie]].<ref name=grove/><ref>Delage (1975), p. 547</ref>

Composers from other countries who works show the influence of Chabrier include [[Igor Stravinsky|Stravinsky]], whose ''[[Petrushka]]'' has thematic and melodic echoes of Chabrier,<ref name="Poulenc, p. 43"/> and [[Gustav Mahler|Mahler]], who called ''España'' "the beginnings of modern music"<ref>''Quoted'' in Delage (1999), p. 290</ref> and alluded to the "Dance Villageoise" in the ''Rondo Burleske'' movement of his [[Symphony No. 9 (Mahler)|Ninth Symphony]].<ref>Woods, Kenneth. [http://kennethwoods.net/blog1/2010/05/21/experts-perspective-mahler-9-a-bitter-burlesque/ "Expert's Perspective: Mahler 9, A Bitter Burlesque"], Kenneth Woods – conductor, 21 May 2010</ref> [[Richard Strauss]], who was an admirer of Chabrier, conducted the first stage performance of the one act of ''Briséïs'', and the critic Gerald Larner comments that Strauss was evidently influenced by the work when he came to compose his ''[[Salome (opera)|Salome]]'' eight years later.<ref name=gl/>
[[File:"Un Bar aux Folies-Bergère" by Édouard Manet (1882).jpg|thumb|''Un bar aux Folies Bergère'' by Édouard Manet, completed in 1882 was among those sold from Chabrier's collection after his death. ]]

==Chabrier and art==
[[Image:Henri Fantin-Latour Autour du piano. 1885.jpg|thumb|upright=1.25|alt=group of middle-aged men standing and sitting round a piano|right|''Autour du piano'', 1885, by [[Henri Fantin-Latour]]; Chabrier at the piano, and [[Vincent d'Indy]] standing, furthest right{{refn|The other musicians in the picture are Adolphe Julien, Arthur Boisseau, Camille Benoît, [[Edmond Maître]], Antoine Lascoux and Amédée Pigeon.<ref name=adp>[http://www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html?no_cache=1&nnumid=000214&cHash=34e19f6012 "Henri Fantin-Latour, Autour du piano, en 1885"], Musée d'Orsay. Retrieved 16 September 2018</ref>|group= n}}]]

Chabrier was known for his continual contacts with contemporary artists, particularly painters of the [[Impressionism|Impressionist]] school. He left a rich collection of paintings by contemporary French painters; [[Edward Lockspeiser]] felt that "if ever it could be reassembled [the collection] would be rivalled, among collections of other composers, only by that of Chausson, which consisted largely of Delacroix".<ref>Lockspeiser, Edward. ''Music and Painting – A study in comparative ideas from Turner to Schoenberg'' (Appendix G: Chabrier, Wagner and the painters of their time). Cassell & Company Ltd, London, 1973, p187.</ref> A sale of his collection at the Hôtel Drouot on 26 March 1896 included works by  [[Paul Cézanne|Cézanne]], [[Édouard Manet|Manet]], [[Claude Monet|Monet]], [[Pierre-Auguste Renoir|Renoir]], and [[Alfred Sisley|Sisley]].{{refn|Details of these paintings: ''Les Moissonneurs'' by [[Paul Cézanne]]; ''[[A Bar at the Folies-Bergère|Un bar aux Folies Bergère]]'' by [[Édouard Manet]]; ''Le Skating'' by Manet; ''Polichinelle'' by Manet; ''Les bords de la Seine'' by [[Claude Monet]]; ''Le parc Monceau'' by Monet; ''La fête nationale, rue du Faubourg Saint-Denis'' by Monet; ''The Rue Saint-Denis, 30 June 1878'' by Monet; ''Femme nue'' by [[Pierre-Auguste Renoir]]; ''Canotier à Hampton Court'' by [[Alfred Sisley]]; ''La Seine au Point du Jour'' by Sisley.<ref>Poulenc, Appendix, pp. 102–104</ref>|group= n}}

Chabrier himself was frequently painted or sketched by his artist friends. Two of these portraits are reproduced above: a drawing of Chabrier at the piano (1887) by [[Édouard Detaille]]<ref>Delage (1982), p. 127</ref> and Manet's ''Portrait de Chabrier'' (oil on canvas, 1881).<ref>Delage (1982), p. 64</ref> He is seen at the piano in ''Autour du piano'' by [[Henri Fantin-Latour]] (right).<ref name=adp/> Other portraits of Chabrier include a crayon drawing by [[James Tissot]] (1861); in the stage box in ''[[The Orchestra at the Opera|L'orchestre de l'Opéra]]'' by Degas (c. 1868); on the right of ''Bal masqué à l'opéra'' by Manet (1873), a pastel sketch by Manet (1880), a portrait by [[Marcellin Desboutin]] (c.{{space}}1881) and a bust (1886) by [[Constantin Meunier]].<ref>Delage (1982), pp. 42, 57, 62, 63, 70 and 153</ref>

Johnson comments that although it now seems extraordinary that the owner of such magnificent works of art should have money worries, this was before Impressionist paintings became sought-after and expensive, and "in any case, this was a composer who regarded his collection as a spiritual necessity rather than a financial asset".<ref name=hype/> Chabrier was also a collector of avant-garde writing; as well as Verlaine, among others he sought out the works of [[Henri de Régnier|Régnier]], [[Willette]] and [[André Gill|Gill]].<ref>Myers p.161</ref>

==Notes, references and sources==
===Notes===
{{Reflist|group=n|colwidth=24em}}

===References===
{{Reflist|colwidth=25em}}

===Sources===
====Books====
* {{cite book | last= Chabrier | first= Emmanuel |author-link=Roger Delage| title= Correspondance. Ed Delage R, Durif F.| year= 1994| publisher= Klincksieck | isbn= 978-2-252-02966-4}} (Format = Year - Letter number - Note number)
* {{cite book | last= Delage | first= Roger |author-link=Roger Delage| title= Chabrier, iconographie musicale| year= 1982| location=Geneva | publisher= Minkoff & Lattès | isbn= 978-2-8266-0638-3}}
* {{cite book | last= Delage | first= Roger | title= Emmanuel Chabrier | year= 1999| location= Paris | publisher= Fayard |language=fr| isbn= 978-2-213-60508-1}} 
* {{cite book | last= Desaymard | first=Joseph | title= Emmanuel Chabrier d'après ses lettres | language=fr|year= 1934| location= Paris | publisher= Fernand Roches | oclc=217973854}}
* {{cite book | last= Howat| first=Roy|author-link=Roy Howat|chapter=Introduction | title=Works for Piano: Emmanuel Chabrier | year=1995 | location= New York| publisher= Dover| isbn= 978-0-486-28574-0}}
*{{cite book |last=Huebner |first=Steven |year=2006 |title=French Opera at the Fin de Siècle|location=New York| publisher=Oxford University Press|isbn=978-0-19-518954-4 }}
* {{cite book | last= Johnson | first= Graham|author-link=Graham Johnson (musician) | title= Gabriel Fauré| year=2011 | location= Farnham and Burlington | publisher= Ashgate | isbn= 978-0-7546-5960-0}}
* {{cite book | last= Myers | first=Rollo | title= Emmanuel Chabrier and His Circle | year= 1969| location= London | publisher= J. M. Dent & Sons | oclc= 468885958}}
* {{cite book | last= Nichols| first=Roger |author-link=Roger Nichols (musical scholar)| year= 1987| title= Ravel Remembered| location=London | publisher=Faber and Faber | isbn=978-0-571-14986-5 }}
* {{cite book |last = Poulenc |first = Francis |author-link = Francis Poulenc |year = 1981 |orig-year = 1961 |title = Emmanuel Chabrier |others = trans. Cynthia Jolly |publisher = Dobson |location = London |isbn = 978-0-234-77252-2 |url-access = registration |url = https://archive.org/details/emmanuelchabrier00poul }}
* {{cite book | last= Poulenc | first= Francis | editor-last = Audel | editor-first = Stéphane |translator-last=Harding |translator-first=James | year= 1978| title= My Friends and Myself | location= London | publisher= Dennis Dobson | isbn= 978-0-234-77251-5}}
* {{cite book | last= Stove | first=R. J. | title= César Franck: His Life and Times | year=2012 | location= Lanham | publisher= Scarecrow Press | isbn= 978-0-8108-8207-2}}

====Journals====
* {{cite journal| last = Delage| first = Roger|author-link=Roger Delage| date = January 1963| title= Emmanuel Chabrier in Germany | journal = The Musical Quarterly| volume = 49| issue = 1| pages = 75–84| jstor = 740499| doi=10.1093/mq/xlix.1.75}} {{subscription required}}
* {{cite journal| last = Delage| first = Roger| date = October 1975| title = Ravel and Chabrier | journal = The Musical Quarterly| volume = 61| issue = 4| pages = 546–552| jstor = 741394| doi=10.1093/mq/lxi.4.546}} {{subscription required}}
* {{cite journal| last = Prod'homme| first = Jacques-Gabriel| author-link = Jacques-Gabriel Prod'homme| date = October 1935| title = Chabrier in His Letters| journal = The Musical Quarterly| volume = 21| issue = 4| pages = 451–465| jstor = 738665| doi=10.1093/mq/xxi.4.451}} {{subscription required}}

== External links ==
{{Commons}}
{{EB1911 poster|Chabrier, Alexis Emmanuel|Alexis Emmanuel Chabrier}}
* {{Internet Archive author |sname=Emmanuel Chabrier |sopt=t}}
*{{IMSLP|id=Chabrier%2C_Emmanuel|cname=Emmanuel Chabrier}}
*[http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=ChabrierEA Free scores] at the [[Mutopia Project]]
{{Emmanuel Chabrier}}
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