CDV Signed 12 Lines Autograph J Guy Ropartz (Composer Music) Ca 1910 For Sale

[AUTOGRAPH LETTER - FRENCH MUSICIAN XIX/XXth]
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1 Bristol business card (VCT)
12 handwritten lines of thanks ...Nice signature at the end 

Joseph Guy ROPARTZ1864-1955
 Guy Ropartz  composer
Education: Paris Conservatory, Schola Cantorum de ParisMasters: Dubois, Massenet, FranckTeaching: Conservatories of Nancy and Strasbourg Primary works
Symphony No. 3Symphony No. 5 Joseph-Guy Ropartz is a French composer, born in Guingamp (Côtes-du-Nord) on June 15, 1864 and died in Lanloup (Côtes-du-Nord) on November 22, 1955. BiographyBorn on June 15, 1864, Joseph-Guy-Marie Ropartz followed the same path as his father, Sigismond Ropartz, a lawyer from Guingamp, by first studying law in Rennes. But in parallel with his studies at the Paris bar, he entered the Paris Conservatory in 1885 in the composition class of Dubois, then of Massenet where he became friends, among others, with the JEUNE Georges Enesco, but whom he soon abandoned. 1886 for the organ of César Franck. Le Chant de la cloche by Vincent d\'Indy is a revelation for him. His poems and short stories inspire musicians including Edvard Grieg.
He is director of the Nancy Conservatory (at the time National School, branch of the Paris Conservatory) from 1894 to 1919, where he created classes for viola in 1894, trumpet in 1895, harp and organ in 1897, then trombone in 1900. He also inaugurated the season of symphonic concerts with the very JEUNE Orchester du Conservatoire, ancestor of the Orchester symphonique et lyrique de Nancy. He became a member of the Breton Regionalist Union in 1898.
After the tragic death of his friend Albéric Magnard in 1914 and the loss of several manuscripts, Ropartz reconstructs the orchestration of his opera Guercœur from memory.
He was then director of the Strasbourg conservatory from 1919 to 1929, at the same time directing the Orchester philharmonique de Strasbourg and had a considerable influence on young students such as Charles Munch. Elected in 1949 as a member of the Academy of Fine Arts, 5th section (musical composition), he succeeded Georges Hüe in chair V.
He retired in 1929 and retired to his castle in Lanloup (Côtes-d\'Armor), where he continued to compose. On July 7, 1951, his friends gathered at the castle witnessed the presentation of his academician\'s sword. In 1953, suffering from blindness, he benefited from the support of his daughter Gaud.
Musical style
Celtic at heart, Ropartz was indeed the son of this country \"where the korrigans populate the moors and dance, by the lunar nights around the menhirs where the fairies and the enchanters - Viviane and Merlin - have as their domain the forest of Brocéliande, where the souls of the dead who have remained unburied appear all white above the waves of the Baie des Trépassés”. These poetic words borrowed from the author himself to define his native Brittany also perfectly define his works, one of which is precisely titled Le Pays. The day after Ropartz\'s death, René Dumesnil wrote in Le Monde: “There is in Ropartz a science of folklore and its fair use that we admire; but more often than the direct use of popular motifs it is an inspiration drawn from the very soil that nourishes the work, like the sap the trees. »
“The thought of Ropartz has a triple source: Brittany, the sea, religious faith. Rarely has a great artist embodied the soul of his land and his race more intensely. A whole part of what he wrote could bear as an epigraph the beautiful verse of Francis Jammes: \"All is vain which is not the great calm of God\". » Louis Kornprobst
Music productionHis musical production includes a hundred opuses.
Symphonic musicWe owe him five symphonies composed between 1894 and 1945,
Symphony No. 3Symphony No. 5Other orchestral piecesThe Bell of the Dead (originally The Farmer\'s Convoy) (1887)Lamento for oboe and orchestra (1887)Landes (1888)Party March (1888)Five Brief Pieces (1889)Carnival (1889)Breton Sunday, suite in 4 parts (1893)Fantasy in D major (1897)Fisherman of Iceland Incidental Music (1891)To Mary sleeping (1911-12)Prince Arthur\'s Hunt (1911-12)Bell Sounds (1913)Evening on the stubble (1913)Rhapsody for cello and orchestra (1928)Country Serenade (1932)Bourrees Bourbonnaises (1939)Little Symphony in E flat major (1943)Pastorals (1950)OperaThe Country (1912)Chamber musicSix string quartets (1893 to 1949)Two sonatas for cello and piano (1904/1918-19)Three sonatas for violin and piano (1907/1917/1927)Sonatina for flute and piano (1930)Short Fantasy on the Name of Magnard for String QuartetTrio in A minor for violin, cello and piano (1918)Two pieces for wind quintet (1924)A trio in A minor for violin, viola and cello (1934-35)Prélude, Marine et Chansons for flute, violin, viola, cello and harp (1928)Piece in E flat minor for trombone and pianoreligious musicSolemn Kyrie, for 4 solo voices, choir and organ (1886)Psalm 136 “Super flumina Babylonis”, for choir and orchestra (1897)5 motets for 4 mixed voices a cappella (1900)Le Miracle de Saint Nicolas, legend in two parts and 16 tableaux for soli, children\'s voices, mixed choir, piano, organ, harp and string orchestra (1905)Short mass in honor of Saint Anne, for three equal voices and organ (1921)Mass in honor of Sainte Odile, for mixed choir and organ (1923)Mass \"Te Deum Laudamus\", for 3 mixed voices and organ (1925-26)Requiem, for soli, choir and orchestra (1937-38)Salve regina for mixed choir and organ (1941)Psalm 129 “De profundis”, for solo, choir and orchestra (1942)vocal musicFor orchestra and voicePrayThe Golden FlowerUndergrowthFor voice and pianowinter lovesongThe Little ChildPoems after Heinrich Heine\'s \"Intermezzo\"Undergrowth\'\'Near a stream (poem by Edmée Delebecque)Rondel for JeanneMercy RingRondeau for a forsaken friendFor choirLes Fileuses de Bretagne, choir for female voicesKyrieorgan musicPaschal Offertory (1889)Three Pieces: On a Breton Theme - Interlude - Fugue in E minor (1894)Six Pieces: Funeral Prelude - Prayer - Exit - Varied Theme - Prayer for the Departed - Fantasy (1896-1901)Rhapsody on 2 popular Christmas carols in Upper Brittany (1917)Introduction and Allegro moderato in D minor (1917)Three Meditations: in B flat major, in F major, in C sharp minor (1919)Works for harmonium or organ without pedalThe Evening Office, 40 pieces (1885)At the Foot of the Altar, series no. 1, 60 short pieces (1919)At the Foot of the Altar, Series No. 2 (1942)Two Small Pieces (sd)piano musicOverture, variations and finale (1904)Varied Chorale (1904)Nocturne No. 1 (1911)In the Shadow of the Mountain (1913)Nocturne No. 2 (1916)Nocturne No. 3 (1916)Scherzo (1916)Music in the garden (1916-17)Summer Sketch (1918)Autumn Sketches (1929)Young Girls (1929)In memory of Paul Dukas (1936)
Literary output
Ropartz was also a talented poet who published in his youth three collections of verse, influenced both by theParnassian school and symbolism. In 1889 he published with Louis Tiercelin The contemporary Breton Parnassus, an anthology of Breton poetry from the second half of the 19th century and he participated in the Revue Ermine, which Tiercelin founded shortly afterwards, in October 1890.
Adagiettos (1888)Minor Modes (1890)The Muances (1892) 
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1 CDV
 Beautiful undated card (circa 1910) -
 [From Georges or Louis Boulay]
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Good condition   
see visuals...


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Very rare
  
 

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 Born on June 15, 1864, Joseph-Guy-Marie Ropartz followed the same path as his father, Sigismond Ropartz, a lawyer from Guingamp, by first studying law in Rennes. But in parallel with his studies at the Paris bar, he entered the Paris Conservatory in 1885 in the composition class of Dubois, then of Massenet where he became friends, among others, with the JEUNE Georges Enesco, but whom he soon abandoned. 1886 for the organ of César Franck. by the lunar nights around the menhirs where the fairies and the enchanters - Viviane and Merlin - have as their domain the forest of Brocéliande, where the souls of the dead who have remained unburied appear all white above the waves of the Baie des Trépassés”. These poetic words borrowed from the author himself to define his native Brittany also perfectlBorn on June 15, 1864, Joseph-Guy-Marie Ropartz followed the same path as his father, Sigismond Ropartz, a lawyer from Guingamp, by first studying law in Rennes. But in parallel with his studies at the Paris bar, he entered the Paris Conservatory in 1885 in the composition class of Dubois, then of Massenet where he became friends, among others, with the JEUNE Georges Enesco, but whom he soon abandoned. 1886 for the organ of César Franck. by the lunar nights around the menhirs where the fairies and the enchanters - Viviane and Merlin - have as their domain the forest of Brocéliande, where the souls of the dead who have remained unburied appear all white above the waves of the Baie des Trépassés”. These poetic words borrowed from the author himself to define his native Brittany also perfectl