Henri Collet (French: [kɔlɛ] ; 5 November 1885 – 23 November 1951) was a French composer and music critic who lived in Paris.
Born in Paris, Collet first studied at the Conservatory of Music at Bordeaux before going to Madrid to study Spanish literature with Ramón Menéndez Pidal and composition with Felipe Pedrell and Federico Olmeda. Later, teachers in Paris included Déodat de Séverac, Gabriel Fauré and Manuel de Falla. [1] In 1907, he gave his first public recitals as a pianist in Burgos and Madrid. In 1913, he earned his doctorate at the university of Bordeaux with a study about musical mysticism in sixteenth-century Spain.
Besides composing and writing, Collet taught at the Institut d'études hispaniques and later at the Collège Chaptal. He received a number of awards including a silver medal from the Faculté de lettres of the university of Bordeaux (1908), the Prix Pierre Aubry (1913), and the composition prize of the city of Paris for his stage work La Chèvre d'or (1936).
His music is marked by his admiration for Spanish culture – a result of his studies and travels over many years on Spain. In France, he contributed to the reputation of Spanish composers including Albéniz, Granados, Mompou, Nin and Turina. Today his music is seldom performed.
Collet is best remembered for his two 1920 articles in Comoedia [2] in which he coined the term Les Six to designate a group of young composers at the Conservatoire de Paris.
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Arthur Honegger was a Swiss composer who was born in France and lived a large part of his life in Paris. Honegger was a member of Les Six. For Halbreich, Jeanne d'Arc au bûcher is "more even than Le Roi David or Pacific 231, his most universally popular work".
"Les Six" is a name given to a group of six composers, five of them French and one Swiss, who lived and worked in Montparnasse. The name has its origins in two 1920 articles by critic Henri Collet in Comœdia. Their music is often seen as a neoclassic reaction against both the musical style of Richard Wagner and the Impressionist music of Claude Debussy and Maurice Ravel.
Amédée-Ernest Chausson was a French Romantic composer.
Henri Constant Gabriel Pierné was a French composer, conductor, pianist and organist.
Henri-Pierre Sauguet-Poupard was a French composer.
Lucien Durosoir was a French composer and violinist whose works were rediscovered thanks to manuscripts found by his son Luc. Durosoir studied the violin with Joseph Joachim and Hugo Heermann in Germany before his first tour as a young virtuoso in 1899. In addition to giving the first performances of French music in Austria-Hungary and Germany, he also gave the French premiere of the Strauss violin concerto in 1901. His career as a violinist was cut short by World War I. Durosoir served in the Fifth Division, which took part in some of the bloodiest battles of the war. At the encouragement of General Mangin, Durosoir formed a string quartet with his fellow soldiers Henri Lemoine, André Caplet (viola), and Maurice Maréchal (cello).
Martin Pierre Joseph Marsick, was a Belgian violin player, composer and teacher. His violin was made by Antonio Stradivari in 1705 and has since become known as the Ex Marsick Stradivarius. It was the instrument of David Oistrakh from 1966 to 1974. Marsick's nephew, Armand Marsick, the son of his brother Louis François, was a major violinist of the 20th century.
Henry Barraud was a French composer.
Guillermo Uribe Holguín was a Colombian composer and violinist and one of the most important Colombian cultural figures of his generation. He composed prolifically in many genres and founded the National Symphony Orchestra of Colombia.
Jean Hubeau was a French pianist, composer and pedagogue known especially for his recordings of Gabriel Fauré, Robert Schumann and Paul Dukas, which are recognized as benchmark versions.
Edward Swan Hennessy was an Irish-American composer and pianist who lived much of his life in Paris. In his pre-War piano music, he excelled as a miniaturist in descriptive, programmatic music. After joining a group of Breton composers, he developed a reputation as a "Celtic" composer, drawing on his Irish heritage, and writing in a style that was unique in a French as well as an Irish context. Even though he has been almost forgotten after 1950, his music was applauded by contemporary French music critics including Henri Collet, Louis Vuillemin, Émile Vuillermoz and Lucien Chevaillier. In some works, he used jazz elements and took inspiration from funfairs and industrial noise, anticipating trends associated with the group of "Les Six".
Henri Martelli was a 20th-century French composer.
Jean Marie Octave Géraud Poueigh was a French composer, musicologist, music critic, and folklorist. According to Henri Collet, Poueigh was fighting ‘for a national music that can only be such by reviving itself at the source of popular melody… recreating folk-lore, without plagiarising it’.
Louis Vuillemin was a French composer and music critic who strongly identified with his Breton heritage in his music.
Marcel Darrieux was a French classical violinist, particularly known for premiering Sergei Prokofiev's 1st Violin Concerto in 1923.
Francis Bousquet was a French composer. Educated at the Conservatoire de Paris, he won the Prix de Rome in 1923. His compositions included three operas, a ballet, and several symphonic and chamber music works. From 1926 until his death he was also the director of Conservatoire de Roubaix. Bousquet was born in Marseille and died in Roubaix at the age of 52. He had been awarded the Légion d'honneur in 1934.
Georges Jean Pfeiffer was a French composer, pianist, and music critic. He was a much sought-after chamber music partner in the second half of the nineteenth century in Paris.
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