Trois Mélodies is a set of mélodies for solo voice and piano, by Gabriel Fauré. It consists of "Après un rêve" (Op. 7, No. 1), one of Fauré's most popular vocal pieces, "Hymne" (Op. 7, No. 2), and "Barcarolle" (Op. 7, No. 3). The songs were written between 1870 and 1877 and were published separately, only appearing together for the first time in 1878 as a part of his first of 3 song collections. The opus number 7 was imposed on them retrospectively in the 1890s, almost 20 years after their first publications.

This is a list of compositions by Ernest Chausson.

This is a list of compositions by Ernest Chausson.

Trois Mélodies is a set of mélodies for solo voice and piano, by Gabriel Fauré. It consists of "Après un rêve" (Op. 7, No. 1), one of Fauré's most popular vocal pieces, "Hymne" (Op. 7, No. 2), and "Barcarolle" (Op. 7, No. 3). The songs were written between 1870 and 1877 and were published separately, only appearing together for the first time in 1878 as a part of his first of 3 song collections. The opus number 7 was imposed on them retrospectively in the 1890s, almost 20 years after their first publications.

This is a list of compositions by Ernest Chausson.

This is a list of compositions by Ernest Chausson.

This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16. The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti. A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 44 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.

Trois Mélodies is a set of mélodies for solo voice and piano, by Gabriel Fauré. It consists of "Après un rêve" (Op. 7, No. 1), one of Fauré's most popular vocal pieces, "Hymne" (Op. 7, No. 2), and "Barcarolle" (Op. 7, No. 3). The songs were written between 1870 and 1877 and were published separately, only appearing together for the first time in 1878 as a part of his first of 3 song collections. The opus number 7 was imposed on them retrospectively in the 1890s, almost 20 years after their first publications.

This is a list of compositions by Ernest Chausson.

This is a list of some notable composers who wrote symphonic poems.

The "Chanson perpétuelle", Op. 37 is a mélodie by Ernest Chausson, written in December 1898. It is one of the major vocal-orchestral works of Chausson, along with the Poème de l'amour et de la mer. Besides the better-known version for soprano and orchestra, Chausson also wrote a version for soprano, piano and string quartet. The text comes from a poem by Charles Cros, describing the suffering of an abandoned woman. It is the last completed work by Chausson, as he left his String Quartet, Op. 35, unfinished. The work was dedicated to the singer Jeanne Raunay, who gave the premiere on January 28 or 29, 1899. Half a year later, Chausson himself died in an accident. The score was not published until 1911. A performance of the Chanson lasts about six or seven minutes.

This is a list of compositions by Ernest Chausson.

This is a list of compositions by Ernest Chausson.

This is a list of compositions by Ernest Chausson.

This is a list of compositions by Ernest Chausson.

This is a list of compositions by Ernest Chausson.

This is a list of compositions by Ernest Chausson.

The Poème de l'amour et de la mer (literally, Poem of Love and the Sea), Op. 19, is a song cycle for voice and orchestra by Ernest Chausson. It was composed over an extended period between 1882 and 1892 and dedicated to Henri Duparc. Chausson would write another major work in the same genre, the Chanson perpétuelle, in 1898. The Poème consists of two parts separated by an orchestral interlude, based on the poems La Fleur des eaux (The Flower of the Waters) and La Mort de l'amour (The Death of Love) by Chausson's friend Maurice Bouchor (1855–1929). (The last 10 lines of Chausson's La Fleur des eaux do not appear be by Bouchor, and their source is unclear.) Bouchor also provided the lyrics for another fifteen mélodies by Chausson. One such song was Le Temps des lilas (The Time of Lilacs), the last four verses of which Chausson transcribed and incorporated into the ending of the second part of the Poème. At the premiere on February 21, 1893, in Brussels, Chausson himself played the piano to accompany the tenor Désiré Demest. The orchestral version was first performed on April 8 the same year by the soprano Éléonore Blanc and the Orchestre de la Société Nationale de Musique, conducted by Gabriel Marie. The piece typically takes just under 30 minutes to perform. The first complete recording of Poème de l'amour et de la mer was made by soprano Verna Osborne in 1956 but with the pianist Robert Vetlesen rather than an orchestra accompaniment.

This is a list of compositions by Ernest Chausson.

The Poème de l'amour et de la mer (literally, Poem of Love and the Sea), Op. 19, is a song cycle for voice and orchestra by Ernest Chausson. It was composed over an extended period between 1882 and 1892 and dedicated to Henri Duparc. Chausson would write another major work in the same genre, the Chanson perpétuelle, in 1898. The Poème consists of two parts separated by an orchestral interlude, based on the poems La Fleur des eaux (The Flower of the Waters) and La Mort de l'amour (The Death of Love) by Chausson's friend Maurice Bouchor (1855–1929). (The last 10 lines of Chausson's La Fleur des eaux do not appear be by Bouchor, and their source is unclear.) Bouchor also provided the lyrics for another fifteen mélodies by Chausson. One such song was Le Temps des lilas (The Time of Lilacs), the last four verses of which Chausson transcribed and incorporated into the ending of the second part of the Poème. At the premiere on February 21, 1893, in Brussels, Chausson himself played the piano to accompany the tenor Désiré Demest. The orchestral version was first performed on April 8 the same year by the soprano Éléonore Blanc and the Orchestre de la Société Nationale de Musique, conducted by Gabriel Marie. The piece typically takes just under 30 minutes to perform. The first complete recording of Poème de l'amour et de la mer was made by soprano Verna Osborne in 1956 but with the pianist Robert Vetlesen rather than an orchestra accompaniment.

The Poème de l'amour et de la mer (literally, Poem of Love and the Sea), Op. 19, is a song cycle for voice and orchestra by Ernest Chausson. It was composed over an extended period between 1882 and 1892 and dedicated to Henri Duparc. Chausson would write another major work in the same genre, the Chanson perpétuelle, in 1898. The Poème consists of two parts separated by an orchestral interlude, based on the poems La Fleur des eaux (The Flower of the Waters) and La Mort de l'amour (The Death of Love) by Chausson's friend Maurice Bouchor (1855–1929). (The last 10 lines of Chausson's La Fleur des eaux do not appear be by Bouchor, and their source is unclear.) Bouchor also provided the lyrics for another fifteen mélodies by Chausson. One such song was Le Temps des lilas (The Time of Lilacs), the last four verses of which Chausson transcribed and incorporated into the ending of the second part of the Poème. At the premiere on February 21, 1893, in Brussels, Chausson himself played the piano to accompany the tenor Désiré Demest. The orchestral version was first performed on April 8 the same year by the soprano Éléonore Blanc and the Orchestre de la Société Nationale de Musique, conducted by Gabriel Marie. The piece typically takes just under 30 minutes to perform. The first complete recording of Poème de l'amour et de la mer was made by soprano Verna Osborne in 1956 but with the pianist Robert Vetlesen rather than an orchestra accompaniment.

This is a list of compositions by Ernest Chausson.