This time, five shorter compositions have been selected, which can serve equally well as an overture, finale, or encore during a concert. Each has its own soundscape—sometimes narrative, sometimes more inspired by landscapes or specific places—and offers the audience rich and varied musical perspectives.

Paul Ladmirault : Brocéliande au matin, poème symphonique

2/2/2/2 — 4/2/3/0 — hpe — 4 Vl solos — cordes
1908
08 mins
Salabert

An impressionistic soundscape of great clarity: in Brocéliande au matin, Paul Ladmirault paints a musical landscape inspired by the legendary Breton forest, a place steeped in Arthurian legend. The instrumentation remains airy and colorful; the harp, flutes, and strings create an enchanted morning atmosphere. A poetic score with a rich atmosphere, ideal for programs devoted to the French repertoire of the fin de siècle.

Henry Rabaud : La Procession nocture, Op. 6, poème symphonique d'après Nicolas Lenau

3/2/2/2 — 4/2/3/1 — timb. — perc. — hpe — cordes (divisées)
1898
16 mins

In this early symphonic work, Henry Rabaud treats the orchestra with elegance and refinement. Inspired by a poem by Nikolaus Lenau, La Procession nocturne unfolds like an impressive soundscape, typical of late Romanticism. Lyrical melodies, refined harmonies, and a keen sense of sonic balance characterize this composition. Rabaud, who succeeded Fauré at the Paris Conservatory, favored traditional forms of expression—the result is a piece that is well worth listening to.

Vincent d'Indy : Istar, Op. 42

3/3/3/3 — 4/3/3/1 — timb. — 2 perc. — 2 hpe — cordes (divisées)
1896
15 mins

In Istar, Vincent d'Indy combines formal refinement with symphonic expressiveness. The technique of variation is remarkably reversed here: the theme only appears at the end, after being prepared by a serie of nuanced variations. Inspired by Babylonian mythology, the composition combines late Romantic harmony with a clear French structure. An extraordinary work that combines formal innovation and orchestral elegance.

Amadeo Roldán : La Rebambaramba Suite

3/3/3/3 — 4/3/3/1 — 7 timb. — 3 perc. — pno — cordes (divisées)
1927-1928
15 mins

Amadeo Roldán is considered the pioneer of Cuban classical music. The suite from his ballet La Rebambaramba is an impressive example of his stylistic blend of Afro-Cuban rhythms and Western orchestral tradition. The diversity of sound, the prominent use of percussion, and the dancing energy give the work an extraordinary liveliness. An appealing musical and programmatic addition to the 20th-century concert repertoire.

André Jolivet : Cinq danses rituelles

3/3/3/3 — 4/3/3/1 — 3 perc. — pno — cél. — 2 hpe — cordes (divisées)
1939
25 min

The thrilling piece of this list: Jolivet's Cinq danses rituelles are archaic, rhythmically uncompromising, and rich in timbre. The composition, marked by extra-European influences, perfectly illustrates the search for new orchestral textures. The use of the celesta, two harps, piano, and percussion creates an evocative soundscape that ranks among the most advanced contributions to the French orchestral repertoire of the 1930s.