While Cécile Chaminade’s works were much loved in her day, she has been largely written out of musical history due to her enduring nostalgia for the aesthetics of her youth. “I confess,” she wrote to a friend in the 1920s, “that I can adapt myself no more to modern music than to modern painting, architecture, poetry, literature, mentality, or morality.”
Most of Chaminade’s successes were melancholy, nostalgic works. Her piano piece Automne at one time sold over 6000 copies a year, and a statement about it in one of her articles for the American magazine The etude shows her allegiance to the Romantic idea of correspondences between nature and the imagination in an almost Symbolist way. “Automne was composed…at the time of the year when nature is at peace and where one looks back on the fine days that have passed and, looking back, realising with heartfelt regret that they are now things of the past.”
This according to “Sister of perpetual indulgence” by Richard Langham Smith (The musical times CXXXV/1822 [December 1994] pp. 740–44). This journal, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.
Today is Chaminade’s 160th birthday! Below, a performance of Automne by Valerie Tryon.