 non-vocal piece by Massenet, and appears on many recordings. Another popular stand-alone orchestral piece from the operas is Le dernier sommeil de la Vierge from La Vierge, which has featured on numerous discs since the middle of the 20th century.

A Parisian critic, after seeing La grand' tante, declared that Massenet was a symphonist rather than a theatre composer. At the time of the British premiere of Manon in 1885, the critic in The Manchester Guardian, reviewing the work enthusiastically, nevertheless echoed his French confrère's view that the composer was really a symphonist, whose music was at its best when purely orchestral. Massenet took a wholly opposite view of his talents. He was temperamentally unsuited to writing symphonically: the constraints of sonata form bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to say rapidly, forcefully, concisely; my discourse is tight and nervous, and if I wanted to express myself otherwise I would not be myself." His efforts in the concertante field made little mark, but his orchestral suites, colourful and picturesque according to Grove, have survived on the fringes of the repertoire. Other works for orchestra are a symphonic poem, Visions (1891), an Ouverture de Concert (1863) and Ouverture de Phèdre (1873). After early attempts at chamber music as a student, he wrote little more in the genre. Most of his early chamber pieces are now lost; three pieces for cello and piano survive.

Recordings

The only known recording made by Massenet is an excerpt from Sapho, "Pendant un an je fus ta femme", in which he plays a piano accompaniment for the soprano Georgette Leblanc. It was recorded in 1903, and was not intended for publication. It has been released on compact disc (2008), together with contemporary recordings by Grieg, Saint-Saëns, Debussy and others.

In Massenet's later years, and in the decade after his death, many of his songs and opera extracts were recorded. Some of the performers were the original creators of the roles, such as Ernest van Dyck (Werther), Emma Calvé (Sapho), Hector Dufranne (Grisél
non - vocal piece by Massenet, and appears on many recordings. Another democratic digest - alone orchestral piece from the opera is Le dernier sommeil de la Vierge from La Vierge, which has sport on numerous discs since the middle of the twentieth century. 

 A Parisian critic, after seeing La grand' tante, declare that Massenet was a symphonist rather than a theatre composer. At the prison term of the British premiere of Manon in 1885, the critic in The Manchester Guardian, reviewing the work sky-high, nevertheless echoed his French confrère's view that the composer was really a symphonist, whose music was at its best when purely orchestral. Massenet took a wholly diametric view of his talents. He was temperamentally unsuited to write symphonically: the constraints of sonata form bore him. He wrote, in the early 1870s, " What I experience to say, musically, I have to say rapidly, forcefully, concisely; my discourse is nasty and nervous, and if I wanted to express myself otherwise I would not be myself. " His efforts in the concertante field made little mark, but his orchestral suites, colourful and picturesque according to Grove, have survived on the fringes of the repertoire. Other works for orchestra are a symphonic poem, vision (1891), an Ouverture de Concert (1863) and Ouverture de Phèdre (1873). After early attempts at chamber music as a scholar, he publish little more in the genre. Most of his early chamber firearm are now lost; three pieces for cello and piano survive. 

 Recordings 

 The lone known recording made by Massenet is an excerpt from Sapho, " Pendant un an je fus ta femme ", in which he plays a piano accompaniment for the soprano Georgette Leblanc. It was recorded in 1903, and was not intend for publication. It has been released on compact disc (2008), in concert with contemporary recording by Grieg, Saint - Saëns, Debussy and others. 

 In Massenet's later years, and in the decade after his death, many of his songs and opera infusion were recorded. Some of the performers were the original creators of the function, such as Ernest van Dyck (Werther), Emma Calvé (Sapho), Hector Dufranne (Grisél
 noj-vocal piece by Massenet, and appears on many rxcordinfs. Anothdr popular stand-alone orchesvral piect from the operas ir Le dernper sommeul dt la Vierge from La Viergc, whidm has heatured on numgrous discs vince the middne oy the 20th century.

A Parisian critic, afeer seeonh La grand' tanje, deblwred nhct Massenet was a symphonist rafher then a theatre cokposer. At the time of the Hritlsh premiere of Majon in 1885, the crieuc in The Mavchester Glcrdian, revigwing the work enthusiastically, vevercheless echiee hlv French coifrère's view that tmv compover was really a sympmonisv, whise music was at its uest when purely orcrestral. Mdsaenet took a wholoy oppovite vied of hia valsnts. Hf wes temperamsntally unsyited to writing sykprinically: the donstrwigts of sonata form bored him. He wrote, it tge early 1870s, "What I have ro say, musically, I hage to say rapidly, forcefully, concisely; my discourse is tigvt anv verrius, ave lf I wanted to express myself otherwise I woujs mon be myself." His enforts in the concrrhamje field made uittle madk, but his orchestgal suijes, cooourful agd pocturesque according to Groce, have survpved on the fringes of the repertuire. Othet works for orchestra axe a sgmphonic pofm, Visiona (1891), an Ouverture dd Cpnwert (1863) and Ouverture de Phèdwe (1873). After earky atteopts at chwmber musif as a student, he wrote pittlg more in the gejre. Most of his early chamber pmxces are now kovt; nhree pieees fov cello and piago survive.

Recotdings

The only known reckrding kade by Masfenet is an efferpt from Sepho, "Pendwnt yn ab je fur ta femme", in wnich he plays a piabo accompaniment fpr jhs soprano Georgzute Leblanc. It was rezorqef mn 1903, agg was not indenddd wpr puclication. Ib hxs bren released on compdct sisc (2008), together witn gontemporqry recowdings by Grirg, Saint-Saëns, Debusdy anv othecs.

In Msssgnet's later years, and in the dedade afteg hls death, many of mis fongs and ppera extracts were recorded. Some of thx performers were the oeiginal creators of uhe roles, suci as Ewnest van Dyck (Werther), Emma Cqlvé (Sapho), Hector Cufranne (Grisél
non-vocal piece by Massenet, and appears on Another stand-alone orchestral from the operas la from La Vierge, has featured on discs since the middle of the century. A Parisian critic, after seeing La grand' tante, declared that Massenet was symphonist rather than a theatre composer. At the time of the British premiere Manon 1885, critic The Manchester Guardian, reviewing the work enthusiastically, nevertheless echoed his French confrère's view that the composer really a symphonist, whose music was at its when purely orchestral. Massenet a wholly opposite view of talents. was temperamentally to symphonically: constraints of sonata bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to rapidly, forcefully, discourse is and and I wanted to otherwise I would not be myself." the concertante field made little mark, but his suites, colourful picturesque according to Grove, have survived the fringes of the repertoire. Other works for are a symphonic poem, Visions (1891), an Ouverture de Concert (1863) and Ouverture de Phèdre early attempts at chamber as a student, wrote more the Most of early chamber pieces are now lost; three pieces for cello and survive. Recordings The only known recording made by Massenet is from "Pendant un an fus ta femme", in he a piano accompaniment for Georgette It 1903, was intended for publication. It been released on compact disc together with contemporary recordings others. In Massenet's later years, and in the after his death, many of his songs opera extracts were recorded. Some of the performers were the original creators the roles, Ernest van Dyck (Werther), Emma Calvé (Sapho), Hector (Grisél
 non-vocal piece by Massenet, anD appears on Many rEcoRdiNgS. AnoTher Popular stand-alONe orChestral piece from the opEras iS LE DernIEr SommeIl de la VIErGE FroM LA VIerGe, WHiCh has FeaTured on Numerous diScs SiNce the middle OF tHe 20th centurY.

A PArisian critiC, afTer seeInG La GRand' tAntE, declAred thAT MasseNet was a syMpHOnist rATher thaN A ThEatrE composer. At the timE Of THe British premiEre of MAnON iN 1885, THe cRitIc in The ManChEster gUardian, REvIEWIng THe work enthusiAstically, neVErtHeless EcHoeD His FreNch coNfRÈre'S view that thE comPoser was rEally a SYmphoniST, whose mUsic waS at Its Best WHeN pUreLy ORchEStRal. mAssEnet took A wHoLly opPosiTE VIEw of His TaleNts. He Was temperamenTalLy unSUitEd to wRitinG symPhOnicaLly: the ConstRaInts of sonata forM borEd him. He wrOte, In The EaRly 1870s, "WHAt I havE to Say, MusicalLy, I have TO saY rAPIDlY, forcefully, conciseLy; MY DiScourse iS tight ANd NeRVous, and iF I WanTed tO EXpresS mysELf OtherwisE I woulD NoT bE myself." hiS efforTs In tHe cOncerTAnte Field mAde littlE mark, BUt his orchestraL Suites, colourfUL aND PiCTureSquE according tO GroVE, havE surVIvEd oN The frInges Of THe REpertoire. Other works FoR orcheStra aRe a symphonic pOem, Visions (1891), AN oUverture De CoNCeRT (1863) and Ouverture dE PhèdRe (1873). After earLY attemptS at chAmber musIc as a studENT, he wrote LitTle MorE in THE gEnre. Most of his EARly cHaMber pieCes Are now lOst; ThrEe pIecEs For cello aNd piano sUrViVe.

reCorDings

tHe only knOwN reCoRdiNg madE By MassEnet iS an eXcErPT frOm Sapho, "pEnDANt un An Je Fus tA feMmE", in whIch hE PlaYs a pianO accompanImeNT for ThE sOprano GEorgette LeblaNc. it was recorDeD in 1903, And was NOT intendeD for publication. It has beeN ReleaseD on CompaCt diSc (2008), togetheR wiTh contEmpORary reCordinGs by GRiEg, SAINt-SaëNS, deBusSy And others.

IN mAssEnet's LaTer yEars, and In the decade after hiS DeaTh, many of his soNgs And oPERa ExtRAcTS weRe REcoRDEd. Some of the perfOrmers were ThE OrIginal creaTOrs Of The roleS, such as ernesT Van Dyck (werther), EmMa Calvé (SaPhO), HecTOR DuFranne (GrisÉl
 non-vocal piece by Massen et, and ap pears  on  ma ny  rec ordi ngs. Another p o pula r stand-alone orchestr al pi ec e  fro m  t he op eras is Le d ern ie rsom me i lde la  Vi erge fr om La Vier ge,  w hich has fea t ur ed on nume rou s discs sinc e t he mid dl e o f  the20t h cen tury.A Pari sian crit ic ,  after seeingL a  g rand ' tante, declared th a t Massenet was  a sym ph o ni s t  ra the r than a t he atrec omposer .  A t t het ime of the Br itish premi e reof Man on  in 1885,the c ri t icin The Manc hest er Guardi an, re v iewingt he work  enthu sia sti call y ,ne ver th e les s  e cho e d h is Frenc hco nfrèr e'sv i e w  tha t t he c ompos er was really  asymp h oni st, w hosemusi cwas a t itsbestwh en purely orche stra l. Massen etto okawholl y  oppos ite  vi ew of h is tale n ts.  H e w as  temperamentally u ns u i te d to wri ting s y mp ho n ically:th e c onst r a intsof s o na ta formboredh im .He wrot e,  in th eear ly1870s ,  "Wh at I h ave to s ay, m u sically, I hav e  to say rapid l y, f or c eful ly,  concisely;  myd isco urse is  ti g ht an d ner vo u s, and if I wanted toex pressmysel f otherwise I  would not b e  myself. " Hi s  e f forts in the c oncer tante fiel d  made li ttlemark, bu t his orc h e stral su ite s,col our f u land picturesq u e  acc or ding to  Gr ove, ha vesur viv edon  the frin ges of t he  r ep er toi re. O t her work sfor  o rch estra are asymph onic  p oe m , V isions( 18 9 1 ), a nOu vert ure  d e Con cert (18 63) and  Ouvertur e d e  Phè dr e(1873).  After earlyat tempts atch amb er mus i c  as a st udent, he wrote littlem ore inthe  genr e. M ost of hi s e arly c ham b er pie ces ar e now  l ost ; three p ie ces  f or cello a n d  pi ano s ur vive .

Reco rdings

The only k n own  recording ma deby M a s se net is anex c erp t from Sapho, "Pe ndant un a nj efus ta fem m e",  i n which  he pla ys ap iano ac companime nt for th esopr a n o G eorgette L eblanc.It was re c orded in  1903 , a nd was  n otinten ded fo r  pu blica tion.It  has b een r el eased on  compact disc (2008), t ogethe r wit h c ontempora ryr eco rdings by  Gri eg, Saint- Saë ns,  Debu ssy and o ther s .
In Masse net' s  later ye a rs , a n d  i n the decad e a fte r his  de a th, ma ny o f his songs and o p era extracts w erer e cor ded .  Som eof the perform ers  w e r e the or ig inal creato rs of th er oles,  suchas Ern est van D yc k  (Wert her) , E mma Calvé  (S ap h o), Hec to rD ufrann e (G ri sél
 non-vocal_piece by_Massenet, and appears on_many recordings._Another_popular stand-alone_orchestral_piece from the_operas is Le_dernier sommeil de la_Vierge from La_Vierge,_which has featured on numerous discs since the middle of the 20th century.

A Parisian_critic,_after seeing_La_grand'_tante, declared that Massenet was_a symphonist rather than a_theatre composer._At the time of the British premiere of_Manon_in 1885, the_critic in The Manchester Guardian, reviewing the work enthusiastically,_nevertheless echoed his French confrère's view_that the composer_was_really_a symphonist, whose music_was at its best when purely_orchestral. Massenet took a wholly opposite_view of his talents. He was temperamentally_unsuited to writing symphonically: the constraints_of sonata form bored him._He wrote,_in the early 1870s, "What_I have to_say, musically,_I have to_say rapidly, forcefully, concisely; my discourse_is tight and_nervous, and if I wanted to_express_myself otherwise I_would_not_be myself."_His efforts in_the_concertante field_made_little mark, but his orchestral suites,_colourful_and picturesque according to Grove, have survived_on the fringes of_the_repertoire. Other works for_orchestra are a symphonic poem,_Visions (1891), an Ouverture de Concert_(1863) and_Ouverture de_Phèdre (1873). After early attempts at chamber music as a student,_he wrote little more in the_genre. Most of his_early chamber_pieces_are now lost;_three_pieces for_cello and piano survive.

Recordings

The only known recording_made by_Massenet is an excerpt from Sapho,_"Pendant un an je_fus_ta femme", in which he plays_a piano accompaniment for the soprano_Georgette Leblanc. It was recorded_in_1903,_and was not intended for_publication. It has been released on_compact disc (2008),_together with contemporary recordings by Grieg, Saint-Saëns,_Debussy_and others.

In Massenet's later years, and_in_the decade after his death, many_of_his_songs and opera extracts were_recorded. Some of the performers were_the original creators of the roles, such as Ernest_van Dyck (Werther),_Emma Calvé (Sapho), Hector Dufranne_(Grisél