Déodat de Séverac

Of aristocratic background, Déodat de Séverac was profoundly influenced by the musical tradition of his native Languedoc. He is noted for his vocal and choral music, which include settings of verse in Provençal (the historic language of Languedoc) and Catalan (the historic language of Roussillon) as well as French poems by Verlaine and Baudelaire. His compositions for solo piano have also won critical acclaim, and many of them were titled as pictorial evocations and published in the collections Chant de la terre, En Languedoc, and En vacances. A popular example of his work is The Old Musical Box in B-flat major, but his masterpiece is the suite Cerdaña (written 1904-—1911), filled with the local color of Languedoc. His motet Tantum ergo is also still sung on occasion.

He left his native Toulouse to study in Paris, under Vincent d'Indy and Albéric Magnard at the Schola Cantorum, an alternative to the training offered by the Paris Conservatoire. He worked as an assistant to Isaac Albéniz and returned to the south of France, where he spent the rest of his rather short life. His opera Héliogabale was produced at Béziers in 1910.

Year / Artwork Title Importance Medium
1899 Piano Sonata 4.00 stars CD
Piano works Comments:
Jordi Masó - Piano
1899 - 1900 Le chant de la terre 4.00 stars CD
Piano works Comments:
Izumi Tateno - Piano
1899 - 1900 Le chant de la terre 4.00 stars CD
Piano works Comments:
Jordi Masó - Piano
1903-1904 En Languedoc (Suite pour piano) 4.00 stars CD
Piano works Comments:
Izumi Tateno - Piano
1907 Pippermint-Get: Valse Brillante de concert 4.00 stars CD
Piano works Comments:
Jordi Masó - Piano
1908 Les naiades et le faune indiscret (Danse nocturne) 4.00 stars CD
Piano works Comments:
Izumi Tateno - Piano
1908 Baigneuses au soleil (Souvenir de Banyuis-sur-Mer) 4.00 stars CD
Piano works Comments:
Izumi Tateno - Piano
1908 Le Coeur du Moulin 4.00 stars CD
Comments:
Ultimately, Le Coeur du Moulin is a rather slight work. The story is a tedious rural love triangle, encumbered with overly poetic language and devices, and with a story that promises conflict but never produces any. Jacques had loved Marie and then went away to serve as a soldier. His delayed return led Marie to believe herself abandoned, and she married Pierre. Jacques returns, whereupon he and Marie discover their love still beats on. However, the voices of nature and wise folk of the town manage to help Jacques realize he cannot interfere in Marie’s married life, and he leaves. By comparison, Pelléas et Mélisande comes off as red-blooded and rambunctious as Cavalleria Rusticana.

Listeners might do well then to skip or barely skim the provided English translation of the libretto and just enjoy the fine performance by the Tours company forces under the experienced baton of Jean-Yves Ossonce. The soloists are all effective, and the recorded sound clear and atmospheric. If one keeps one’s expectations modest, anyone who enjoys French music of the first half of the twentieth century — and why wouldn’t one? — will find this Timpani release a pleasant experience.
(From Opera Today)

Jean-Sébastien Bou
Sophie Marin-Degor
Pierre-Yves Pruvot
Marie-Thérèse Keller
Sabine Revault d’Allonnes
Chrsitophe Berry
Anna Destraël

Maîtrise & Choeurs de l’Opéra de Tours,
Emmanuel Trenque Orchestre Symphonique Région Centre - Tours
cond. Jean-Yves Ossonce

1909 Stanzas to Madame de Pompadour' 4.00 stars CD
Piano works Comments:
Jordi Masó - Piano