Notes Bluette is a musical form, a short brilliant piece of music like
Bluette Musicale sur "La Ronde Bachique de Demons" de l'opera La Tentation de Fromental Halevy" pour le piano forte: Op. 114 by Friedrich Wilhelm Michael Kalkbrenner. Music score reviewed and revised by Hugo Hartmann. Aibl, 1852. Published in Berlin by Stempelmann and Heinrih Weiss. Also published as Deux romances sans paroles, Berceuse et Canzonetta. Published in Berlin by Stempelmann, Weinholtz u Co., Heinrich Weiss, Julius Weiss, in Erfurt by Bartholomäus, in Hannover by Bachmann, in Leipzig by Klemm and Hofmeister, in Magdeburg by Heinrichshofen. Originally titled Caprice-Nocturne. Published in Berlin by Stempelmann, Weinholtz u Co., Julius Weiss, in Erfurt by Bartholomäus, in Hannover by Bachmann, in Leipzig by Klemm and after 1852 in Turin, Italy, by A. Racca. Published also as Étude de Concert [Op. 7], transcripte pour la Harpe par Charles Oberthür. Op. 101." (1892). In Milan by F. Lucca in 1846 with dedicatee "à son ami Émile Prudent", in Berlin by Philipp, Stempelmann, Henrich Weiss, in Erfurt by Bartholomäus, in Hannover by Bachmann and in Pest by Rózsavölgyi. "À son ami E. Prudent." Mayence, Les fils de B. Schott [1860ca.]. Published in Milan by F. Lucca in 1846. The first part of this composition is for the left hand only, although the brilliance of the whole is enhanced by the right one. Published in Berlin by B. u Bock. A Serénade for Six Hands → "M. Goria is a great and powerful pianist, tall in size, powerful in sound, which, of course, is not very common for this dry instrument, despite the genius of our skilled manufactures of this instrument whose intonation does not live under the pressure of the fingers, bow or human breath, which makes the voice the most beautiful of all instruments. In the concert M. Goria gave on the 29th last month (February 1845), he was past of the charming trio "The Osborne" with MM. Hermann and Seligman. His Serenade for the Left Hand earned him a parfoemance by all the listeners' hands; his study, entitled: L'Eleganza, proves the distinction of his musical thought. After this piece for three pianos, which was very well played by MM. Lacombe, Ravina and the beneficiary, three students of Mr. Zimmermann, author of this trio, M. Goria finished his concert, which attracted a large and distinguished audience, with a nocturne of his own composition that was no less successful than his other works." Revue et Gazette Musicale (1845) The Missing Nocturne → L'Attente (Die Erwartung) means "The Expectation". "Pazdírek (1839—1919) (op. cit) mentions one WoO by Czerny called "Attente, nocturne" but there is no trace of that work elsewhere. The French composer Alexandre Edouard Goria, who lived for some time in Vienna and knew Czerny well, published a nocturne in 1847 called "L'attente", his opus 10. It is thus probable that Pazdirek's indication is erroneous." Richard d'Ari. Dedicatée: À son ami Ch. Gounod, Paris 3me. caprice-nocturne caractéristique together with Op. 10-6. Also published under the title 3 nocturnes caractéristiques. No 1. Caprice-nocturne. Op. 6. No 2. L'Attente. Op. 10. No 3. Le Calme. Op. 11. [P.F.] no. 3. Dedicatée à Mlle. Fanny Lecomte Published in Berlin by Stempelmann, B. u Bock, Weinholtz u Co., in Erfurt by Bartholomäus and in Prague by Wetzler. Charles Gounod's Family Bonds Ulysse was produced the 18th of June 1852 under Offenbach's directorship. I had just married, a few days before, Pierre-Joseph-Guillaume Zimmermann's daughter, the celebrated professor of piano at the Conservatory and to whom is due his reputation coming from the same "school" from which Prudent, Marmontel, Goria, Lefébure-Wély, Ravina, Bizet, and ao many others come. I became then, by this alliance, brother-in-law of the young painter Édouard Dubufe who was already most ably carrying his father's name the heritage and reputation of which his own son, Guillaume Dubufe, promises to brilliantly maintain." Charles Gounod - "à Mme. Juliette Dubufé". Also published as "Rêverie. Pour le piano. Composée et dédiée à Mrs. R.A. Reinagle (of Oxford) etc. <Op. 19>."
London : R. Cocks & Co., [1846] A lieder entitled "The Maiden's lament" written by Schubert in the beginning of his career. This 6me. étude de salon completes his set of studies École moderne du pianiste, 6 Études brillantes, 2me. suite together with his Op. 63. Jean Maurice Bourges, distinguished musical critic, born at Bordeaux Dec. 2, 1812; came early to Paris, and studied composition under Barbereau. In 1839 he became joint-editor of the 'Revue et Gazette musicale,' the high reputation of which paper is in great measure owing to him. In 1846 'Sultana,' an opera of his, was successfully produced at the Opéra Comique. He made an excellent translation of the words of Mendelssohn's 'Elijah.' He died in 1868, after an illness of many years. This score reads: Odessa Op. 26. 3/8 Introduction; 3/4 Andantino con morbidezza. Another score (only one) reads: 2 Pensées caractéristiques pour Piano, No. 1. Ophelia, mélodie. No. 2. Miranda, polka. Op. 26. London : R. Cocks & Co, [1847].
No. 1 Ophelia reads: "1ere. Pensée Caracteristique". Dedicated to Madame. H. Offenbach. Mayence [etc.] : les fils de B. Schott, [ca 1847] In three sections: section 1 unlabeled; section 2 Terzetto; and section 3 Intermezzo.
Dedicatee: M. Alfred Jaell, de Vienne. Goria and Hermann's vaudeville duo de concert → "Without doubt collaboration gives rise to vaudeville and like this the duet is born; and because of this kind of work in pairs, it is logical to think that one may be in the art of writing music when the violinist exchange places with the pianist who plays the violin very badly, and the violinist in turn plays the piano the same manner. This is what makes our virtuosos feel the need to associate themselves; hence the charming duets for piano and violin, by Bérliot and Wolff, Guichard and Brisson, Lacombe and Hermann. The latter has just composed or arranged one in association with M. Goria, on the motives of Don Pasquale. This dialogue for piano and violin, full of that Italian melody so loved by amateurs, is in execution, if not easy, at least possible. The two instruments equally struggle with graceful melody and brilliant strokes. The violinist has everything to play the works of Donizatti, and one could not better suit the expressive qualities of the king of instruments, when the pianist brings out all the advantages the piano has to offer." J. Bibent "à Melle Esther Remy Paris, Chabal Editeur Ch. 639 XIXe siècle ca1845" Original title Chanson espagnole, Op. 33. Published in Milan by F. Lucca between 1847 and 1848. Mayence : Les fils de B. Schott Dedicatee à Mademoiselle A. Groslevin. Subtitled: Hymne à Pie 9me. Ded: à M-lle Joséphine Martin. Mayence [etc.] : les fils de B. Schott, [non ante 1847] Grande fantasie triumphale, Op. 84, based on themes from Verdi's opera Il Lombardi. Gottschalk had almost surely been present at the premiere of this opera in Paris in 1847 and probably knew the variantions on the famous trio published by his friend pianist Alexandre Goria." Starr, S. F. (2000). Also published as Capriccio brillante per pianoforte solo sull'Opera "I Lombardi" del M. Verdi. In 1847, the opera was significantly revised to become Verdi's first grand opera for performances in France at the Salle Le Peletier of the Paris Opera under the title of Jérusalem. Dedicatée "à Mademoiselle Neney Pellier". This composition was arranged by Goria as a fantasia. 1re. Série, Nos. 1-6 – 2me. Série Nos. 7-12. A 3me. Série Nos. 13-18 [!] is listed somewhere on Google Books. Published in Milan by F. Lucca with dedicatée "A M.r Georges Pfeiffer". Neue Berliner Musik Zeigtung on Goria's Le val d'Andorre, Op. 47 → "Goria worked with effort and diligence and, if not original, delivered something skilfully put together as for his Op. 47, accepting like this, to some extent, the sin he committed by transcribing Beethoven's Adelaide (namely in the Final Allegro which incidentally he liked). That the French sometimes have a desire to touch the core of German issues is something known to everyone, so let them enjoy themselves with pretty polkas or a "Valse infernale", quadrille, or the like by Philippe Musard. These German works stand as colosses for centuries and require modern (polka) chisels to scrape them off the dirt of the insipid "musique du jour." Presented by M. George Hainl together with Goria on 15 March 1857, in Lyon. Concert de M. Goria, Prt 4 → "We cannot end our review without paying a tribute of praise to Mme. Geismar and M. Marthieu lent M. Goria the assistance of their talent. Mlle. Geismar sang with delightful melancholy a delicious melody by M.L. Peuchot, Le Soir. She sang in the second part of the concert the romance of the Carillonneur de Bruges, a three-act Opéra-Comique with music by Albert Grisar, which premiered at the Théâtre de l'Opéra-Comique with libretto by Jules-Henri Vernoy de Saint-Georges) (20 February 1852). We would have enjoyed this romance with great satisfaction being it a little more accurate in the voice. As for M. Marthieu, whose organ is magnificent, he sang in an irreproachable manner the romance of Val d'Andorre (le Suspicion, Thérèse), and the magnificent Stances à l'éternité by M. Delsarte. He should have only broken with a more varied and warmer diction the otherwise inevitable monotony of this large and dark song. Two days later, there was indeed a second concert given by Mlle. Pinel, the profit of which must be used for the completion of the Church of Saint-Aubin. We couldn't attend; we could then only talk about it by hearsay, we prefer to be silent." J. Bibent
Original title La Chasse, Op. 48. Published in Milan by F. Lucca. This score by Lucca reads: "Title: Les bords de la Newa 6.me : 3 mazurkas originales pour piano, Op. 49. Nr 2, Le palais d'hiver
Alternative title: Mazurek Op 49 Nr 2 Le Palais d'Hiver
Publisher: Lucca, Francesco (1802-1872) Listed as morceau de salon. “L'Italia musicale” No. 87 (1850). Fantaisie "baillante" → "For some time now, we have seen the portrait of a pianist displayed on all the walls, surrounded by the titles of all the pieces he has composed. This pianist is called M. Goria and the advertisements tell us that he has acquired immense success. What a joke! M. Goria is a successful pianist but he is compromised by ridiculous praise in the newspapers. Recently, one said: "The works of M. Goria are "baillantes" (instead of "brillantes")." This is textual. It must be believed that the "éditeur" had to take some revenge on the composer. He had probably heard his songs". Escudier Published in Milan by F. Lucca. École moderne de pianiste → "A very special mention in this nomenclature of Goria's piano pieces is a series of "studies of style and mechanism" published under the title Le pianiste moderne, Op. 72, and his Six great artistic studies, Op. 63, both adopted by the Conservatory studies committee. If only he had taken the time to write similar works, his name would have become even more popular in education like those of the masters of the modern school." Matinée de M. Goria → "M. Goria is a pianist like many, but that doesn't mean he doesn't have talent. His manner is clear, his touch is light, brilliant, but he doesn't seem to care much about what comes from inside. The harder it is, the more you have to think about it. He traces a melodic line in an irreproachable way, but what line, what mechanism are we talking about so much now, if there's no heart. Without seeking for the equality of the notes, every intonation has the same volume of sound, and the result is a monotonous noise for the ear which often makes it rightly said that the piano is definitely not a concert instrument.
M. Goria performed the Fantaisie sur les motifs de l'opéra "Lucia di Lammermoor" de G. Donizetti (requested) as it was listed on the program. Without going back too far to the source of this request, we have observed that this fantasy by Prudent is one of those pieces which, when the melody has already crossed to the line of "pont-neuf", somebody has to finish it. That makes the ladies swing their heads from right to left and from left to right on each beat of the 6/8 tempo, making a musician of a rather original mind to call rhythmic pieces like this, "cloacked rondos". M. Goria should have chosen in preference to this fantasy, a piece as good as that of Hallé and do what he does in his private matinées and in his annual concert.
Be that as it may, M. Goria is an artist of the future and one of clear and brilliant manner in which he plays Hummel with his skilful interlocutors." Room, which we lack, does not allow us to say much about this concert in which Mlle. Lia Duport intervened with La biondina in gondoletta. Barcarolla veneziana with variations by Ferdinando Paer, and romances from this composition. She obtained enthusiastic success, the honors of this concert were for her." Henri Blanchard Gazette musicale de Paris (26 Mars 1848) Also published as 3 Morceaux caractéristiques pour piano, (No. 1 Prima sera No. 2 Allegrezza No. 3 Chanson Mauresque) Op. 65, 66, 67 (1854) Dedicatée "À Melle. Marie Mira" Dedicated to Mademoiselle Josephine d'Arquinvilliers. Concert de M. Goria, Part 2 → "Danse villageoise is charmingly lively and original, and at the same time it is a brilliant fantasy, it is an excellent study of octaves, it connects the useful to the pleasant, we recommend it to piano students. The other compositions that we have been given to hear are for the most part only arrangements on operatic motifs. It is so with the Fantaisie sur Trouvère and the romance of William Tell (sombres forêts). We will say nothing of these compositions which required more skill than genius from the author. However, we must point out the Caprice de concert on motifs from Oberon with quartet accompaniment. This truly classical quartet for soprano, mezzo-soprano, tenor and bass, is sung by Rezia, Fatime, Scherasmin and his master the knight Huon. Huon and Scherasmin propose to the two girls of the East to flee with them through the blue waves: Uber die blauens Wogen as the German text says. Rezia and Fatime accept the proposal by repeating the same phrase that Huon and Scherasmin just sang, and then the four voices come together and form an ensemble full of elegance and clarity. M. Goria, took as subject of his whim the delicious duet of the third act between Scherasmin and Fatime, and the famous finale of the Grand air de Rezia which characterizes to such a high point the greatness of the Weber's genius." → Concert de M. Goria - Part 3
Also listed on Bibliographie de la France 1847 p. 240 Nocturne de concert en sol b pour piano, op. 74. Dedicatée "à Mademoiselle Laure Busso-Delavault son Elève." Schott Music. Mayence : Les fils de B. Schott, [ca 1860] The Marillleño Incident → "The resounding successes of Émile Prudent and Louis Moreau Gottschalk on the other side of the Pyrenées had inspired Goria with the desire to see that beautiful country where talented artists have always received the warmest of welcomes. Provided with numerous letters of recommendation assured fruitful concerts to him who went straight to Madrid where the high society was always there to give him an enthusiastic reception. Celebrated in the salons it did not take him long to announce a great concerts whose tickets were sold in just a few hours. In the evening there was usually a full house and a rowry audience prepared to applaude him when a terrible incident upset the benevolent dispositions of the public. During this trip and since his arrival in Madrid, Goria had taken notes, not musical notes, but motifs from popular songs, a more or less humorous list, more or less discreet observations embracing the customs of a country related to beauty and women who would not be stopped before details of private lives, all summarized in a letter addressed to the pianist officer Viennot, Goria's intimate friend.
This spiritual but untimely letter at the time when the artist appealed to the sympathies of the Spanish people was unfortunately communicated to the director of a still small newspaper, already famous and which was soon to become the leading organ of the light press. It was all printed without calculating the disastrous effect which the publication of this "factum of a schoolboy on vacation" was to produce. The newspaper that arrived in Madrid was read a few minutes before the concert when the audience was already in the hall. It passed hand in hand, from box to box, a storm then was about to be come. In time Goria had to leave Madrid with a broken heart. It was a double material disaster from which he was never to recover. The stagefright from which he suffered from then on became more intense. His dark spirit threatened and provoked him several times as he always seemed to have a duel in prospect, not being in any way a fighter by temperament, of course. He lived so for a few years worried, preoccupied, and saddened." Revue et Gazette musicale. Published in Milan by F. Lucca between 1850 and 1860 with dedicatee "A Mad.lle Mariquita De Biarrote son élève". Mayence : Chez les fils de B. Schott, London [1855].
"Goria is due to give a concert soon. The famous pianist will play Beethoven's concerto in C minor with orchestral accompaniment and new compositions including La Tirana: national air from Cadiz, which produces a great effect. Mlle. Marie Cinti-Damoreau and M. Herman will lend him their assistance."
Original title Les regrets: Impromptu étude pour le piano. Published in Milan by F. Lucca c. 1861 with dedicatee "A madame Ed. Lyon née Coche". A Mme. La Baronne Dumesnil, Superintendent of the Imperial House of the Legion of Honor, published in Milan by F. Lucca c. 1850. Alternative title: ''Marguérite au Rouet: Deuxieme melodie de Franz Schubert. Menestrel et Heuguel et Cie. (Paris), Schott (London), Luccas (Milan). Dedicatée Melle. Lydia Inglis. Also titled Grand caprice de concert pour le piano avec orchester (ad libitum) sur Obéron de Weber Ded.: A son élève M-lle Emma Bossu. Mayence : les fils de B. Schott, [non ante 1858]. Ded: à Miss Patricia B. Kennett, son élève. Mayence : les fils de B. Schott, [ca 1860] Concert de M. Goria, Part 1 → "The days follow each other, but are not alike. In one of our last reviews, we noted with regret the culpable indifference with which the public had received the famous violinist M. Sainton; today, we note with happiness that a numerous and chosen audience met, on February 17 (1859), in the salons of the Society of Saint-François-Xavier at the concert of M. Goria. This eagerness to respond to the call of the eminent pianist, in no way surprised us, it was legitimate. M. Goria is certainly a virtuoso well worth hearing. It shines with the most outstanding qualities. Correction; perfect, flawless finish, great equality of execution such are the salient characteristics of his talent. To this already rather rare merit, he adds an intimate knowledge of the mechanism which allows him to play with the greatest difficulties. The stroke is on his fingers always pure and fast; the octaves, either in the bass or with the right hand, soar forth with incomparable clarity, lightness and vigour. The sounds skillfully blend together in perfect harmony. The phrase has roundness and distinction; only sometimes it is a little monotonous, the artist liking to reproduce the same rhythms too often.
And now, if leaving M. Goria as a performer, we wonder what if he is as a composer, we find in his compositions pleasant fantasies that we always listen to with pleasure. This artist seems to have understood the true character of the instrument of which he is so skilful interpreter. He knows that a piano piece played too hard must inevitably tire and displease. It is because, in fact, from the point of view of the concerto, the instrument used has very limited resources. A cold and inert keyboard mercilessly arrests the passionate feelings which could agitate the soul of the artist, and does not leave him the means of conveying them to that of the listeners. The sounds, escaping the power of the performer as soon as they are produced, prevent him from translating into a broad and full phrase the grandeur and nobility of his thought. M. Goria therefore gives his compositions little scope; an idea originally expressed is enough for him to compose a piece. And in this, he shows taste and intelligence. Among his works, those tmost admired are: Marche triomphale for two pianos, also entitled Marche triomphale pour piano à quatre mains. (Milan - F. Lucca), and his Danse villageoise. The first is of a broad and majestic style, the ideas linked together with art and the developments not lacking in elegance." → Concert de M. Goria - Part 2 The french word "Amitié" means "Friendship". Chabal [Paris] and J. Meissonnier fils (Paris) Also published as Les Muletiers, boléro-scherzo de concert pour piano, Op. 92 by J. Meissonnier fils, Paris, 1858. Dedicatee à son élève Miss Lydia Inglis Transcrite pour piano seul par A. Goria, n° 2 et 3. Paris, Colombier. Goria also went to London in 1848 where, despite the number of pianists, he was sure to mark his place. He had a commitment for six concerts in advance on that year's tour. Book description archive BNF: "Histoire anecdotique, politique et militaire de la Garde Impériale ... Illustrée par H. Bellangé, E. Lamy, De Moraine, Ch. Vernier. Musique des marches et fanfares de la Garde, transcrite par A. Goria' Barcarolle in A♭ major. Ricordi, Tito is the preferred form of: Ricordi Regio Stabilimento Musicale or Regio Stabilimento Tito di Gio. Ricordi Concert de M. Goria, Part 3 → "A young pianist, laureate of the Toulouse Conservatory, pupil of M. Goria, Mlle. Lucie Deldébat, performed with her master his Marche triumphale arranged for two pianos, and the magnificent piece Concert Stück by Weber, also transcribed by M. Goria for two pianos. The talent of this young artist shines with the same qualities that distinguish that of her master. We admired a great deal her finish in the execution, a great correctness in the details, a vigorous and flexible fingering. She warmly mentioned the allegro passionate of the Concert Stück, and she showed a certain elegance of execution in the march which precedes this allegro. We deeply regret that Mlle. Deldébat did not make herself heard alone, we could have passed a more complete judgment on her; she recoiled, no doubt out of modesty and timidity, before this decisive test which would have revealed to us the truly original and creative side of her talent. No doubt, it is fine not to bend, to hold one's rank with dignity alongside M. Goria; but it is even more beautiful to fly boldly with one's own wings, without the help of the inspiration of the master, and to ask only one's own heart for the impulses which must sparkle you." → Concert de M. Goria - Part 4 Italian Publishing Co. Ricordi issued a music score for this transcription for four hands in March 1862 under the title Divertimento per Pfte a 4 mani sopra motivi del Ballo in Maschera di Verdi (catalogue number 33928). Old minuet. Published by Brainard 7 Co. (Cleveland)
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