Home Page

Preserving and Exploring our Musical Heritage

Exhibition Categories

> Past Exhibitions of the Month

> Music and graphic design

> Music for children

> Ballet

> Music and social history

> Social Dance: Tickets, invitations and posters

Past Exhibition of the Month - March 2019

Previous | Next

< Return to list

Lithograph by Grégoire et Deneux after Nicolas-Eustache Maurin (1799-1850). Paris, c.1840.

Lithograph by Grégoire et Deneux after Nicolas-Eustache Maurin (1799-1850). Paris, c.1840.

[View All Images]

LAMARTINE, Alphonse de (b.Mâcon, Burgundy, 1 October 1790;d.Paris, 28 February 1869)


Statesman, poet, novelist and historian, Lamartine is an important figure in 19th-century French history.  He died on 28 February 1869 and we show here a few items from the Museum's collection to demonstrate his influence on French romantic music.

Le Lac from Lamartine's Méditations Poétiques, his first poetry collection, published in 1820, was one of the first to receive a musical setting.  This was from Louis Niedermeyer, a Swiss-born composer, living in Geneva at the time of its publication (1821) and finding himself famous on his move to Paris two years later.  Music was itself an important influence on Lamartine and later settings from the same collection are by composers including Berlioz, Gounod, Félicien David, Saint-Saëns, Bizet, Lalo and Debussy.

Liszt befriended Lamartine during his formative years in Paris (1823-1833) and his first mature piano work (1834) is named after the latter's second important published collection Harmonies Poétiques et Réligieuses (1830).  Eighteen years later Liszt  gave the title again to a ten-movement suite, using titles of individual poems for some of the movements and quoting their opening stanzas.  In 1845 he actually proposed to Lamartine's ward and niece Countess Valentine de Cessiat but was rejected (as were other suitors; she in fact married her uncle 18 months before his death).  The symphonic poem Les Préludes and the Consolations for piano are among other titles deriving from Lamartine.

A handful of operas based on Lamartine's novels achieved little success, though Fior d'Aliza by Victor Massé (after Graziella) was seen by the poet himself at the Opéra Comique in 1866.  Benjamin Godard's Jocelyn (Brussels and Paris, 1888) was remembered for its famouse Berceuse until well into the twentieth century.  Click here to listen to Victor Capoul's 1905 recording.

(Please click the thumbnails below to view larger image)

Louis Niedermeyer: Le Lac (Paris, [1821?]). Probable first edition of the song usually seen as the historic turning-point between the simple romance française and the mature romantic mélodie. The text is from Lamartine's Méditations Poétiques, published in March 1820.

Niedermeyer: Le Lac. (7th edition, Paris, [c.1866]). Later editions of this drawing-room favourite carried attractive lithographed title-pages. This one is by Pierre Auguste Lamy (1827-1883).

Benjamin Godard: Jocelyn, opéra en 4 actes. [Vocal score, 2nd edition, Paris, c.1890]. This dramatisation of Lamartine's epic poem (1836) was instigated by the great French tenor Victor Capoul (1839-1924), who collaborated on the libretto and sang the title-role in the work's Paris première in October 1888. Although not a lasting success, the score was praised for many attractive lyrical moments. In particular the 'Berceuse' from Act II remained a popular encore (for great string players as well as singers) until at least the inter-war period. Capoul recorded the Berceuse in 1905. (see end of main text)

L'Univers Illustré,  Paris, 13 March 1869 from which the following three images are taken.

The Château de Saint-Point, Lamartine's family home since 1802. The chalet in which Lamartine died. The house in the Bois de Boulogne had been given to by Paris Town Council. Lamartine's funeral in the Cemetery in Saint-Point.