List of Works by Pauline Viardot

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Category:Viardot, Pauline.

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Contents

Works with IPV number

  1. Aimez-moi
  2. Vous parlez mal de mon ami
  3. Chanson de l'infante
  4. Le Roussignolet (avec accompagnement de flûte)
  5. Ladinderindine [Ладиндериндин] (à 2 voix)
  6. Les trois belles demoiselles [Три красавицы "Смотри, входят в тёмный сад"] (à 3 voix)
  1. Premier trouble, VWV 1127
  2. Divin sommeil!, VWV 1128
  3. Chanson d'autrefois, VWV 1129
  4. La Japonaise, VWV 1130
  5. La Vierge au lavoir, VWV 1025
  6. Suzon, Suzette, VWV 1131
  7. Rêverie (Duo), VWV 1024
  1. Romance
  2. Bohémienne
  3. Berceuse
  4. Mazourke
  5. Vieille chanson
  6. Tarentelle
  1. Moderato, VWV 3008
  2. Malicieuse. Mouvement de valse, VWV 3017
  1. La main
  2. Dernier aveu
  3. J'en mourrai! Morirò
  4. Hai Luli
  5. Gentilles hirondelles. Potessi diventare
  6. Chanson mélancolique "Nous avons passe"
  7. Havanaise (variée à 2 voix)

Operettas

  • Trop de femmes [Слишком много жён] (Ivan Turgenev, 1867-70); Opérette en 2 actes (or: Grand opéra en 2 petits tableaux). A work for voices and piano first staged at Baden-Baden in August 1867 and later revised. For the French libretto, see Turgenev, Sochineniya, vol. 12, pp. 7-25 (and cf. pp. 428-45). One item in this operetta, ‘Chanson de Noix de Coco’, was used first for Le Miroir (1869) and then for a revival of Trop de femmes in 1870; Harvard has a version of it entitled ‘Dans la plaine de Tombouctou’, from its opening words. Many drafts and fragments of manuscript music are to be found at the Médiathèque Hector Berlioz; at the Bibliothèque nationale de France, Fonds slave (Tourgueneff), no. 75; at RGALI, Moscow, f. 509 op. 4 yed. khr. 10; at Harvard; and in private collections. In addition to ‘Chanson de Noix de Coco’ (sometimes for voice and percussion), the extant pieces include ‘Je suis pacha’, ‘Pour charmer les/vos nobles loisirs’, ‘L’Invocation à Mahomet’, ‘Hassan méïr kalif erzroum’ (the wording varies!), ‘Chanson à boire’, ‘Qu’avec lenteur passe la vie’ and the berceuse ‘Dodo, gros pacha’.
  • Le dernier sorcier, VWV 2002 (or: Le Dernier des sorciers, or: Krakamiche [Craquemiche, Croquemiche]) [Последний колдун] (1867-69). Opérette fantastique en 2 tableaux (or: Fantaisie en 2 actes). A work for voices and piano first staged at Baden-Baden in September 1867.
Chanson de la pluie (Marthe's Song from Scene 3)
Chanson de Sarah "Donne-moi la main, Madame"
Chœur de jeunes filles dans la coulisse "La neige froide et blanche"
Sérénade "Entends tu ma belle"
Choeur Bohémien "Vrais enfants de la Bohême" (arr. for solo voice, women's chorus (SMzA), tambourine, triangle and piano)
  • L'ogre [Людоед], Conte de fées. Opérette fantastique en deux actes (Turgenev, 1868); A work for voices and piano first staged at Baden-Baden on 23 May 1868. "L'école des ogres en 2 actes": dramatis personae, outline of the plot and 15 musical numbers (ff. 1r-2v) -- drafts of poetical parts, and notes (3r-v, 4r-v, 5v, 6r). The extract most widely known is its opening Chœur des fileuses (‘Lorsque le soleil’), also several piano pieces including ‘Air de danse’ in 2-4 time; the Air d’Estambardos, ‘Ouf, quelle chaleur!’; the vocal trio ‘Belle princesse’; and the aria ‘Viens ici Naïna’. Harvard also has a number for a then planned character called Mariutza and chorus, ‘Quel est-il? ce jeune homme? Est-ce un prince? Quel air sombre et farouche’, a version of which in the operetta as performed was sung by the chorus only.
  • Le Miroir. Opérette en deux actes (Turgenev, 1869). A work for voices and piano no doubt staged once or twice in 1869. For the French libretto, see Turgenev, Sochineniya, vol. 12, pp. 132-68. The only pieces presently known from the music for this operetta are the chansonnette ‘Dans la plaine de Tombouctou’ (see under Trop de femmes, 1867) and part of the nocturne duet ‘Viens sur mon cœur, ma Dilara chérie’. Harvard has a manuscript of the former piece mentioned, and one of the latter is in a private collection (with ‘Léïla’ rather than ‘Dilara’). Harvard also has two variant manuscripts of the libretto, with some musical indications.
  • Le conte de fées [Сказка] (1879)

Choral works

  • La Jeune République "Paris est sorti du tombeau En renversant la sentinelle", text by Pierre Dupont (1848). This cantata with a march movement, scored for soloist (tenor or soprano) and mixed chorus with piano accompaniment, existed also in an orchestral form presumably not by the composer.
  • Choeur Bohémien "Vrais enfants de la Bohême" (from La Veillée de la Saint-Sylvestre) (1867)
  • Choeur des Elfes "Compagnes ailées, mes soeurs bien aimées" (1899)
  • Choeur de Fileuses (from the operetta L'ogre)


Songs

  1. L’Enfant de la montagne (Des Knaben Berglied). Ballade. "Je suis l’enfant de la montagne, D’en haut je vois le fier manoir."
  2. La Chapelle. Ballade. "Là-haut se voit la chapelle Qui domine le vallon."
  3. L’Abricotier. Chanson servienne. "Un ruisseau coule et murmure Au pied d’un abricotier." [Абрикосовое дерево. Сербская песня. "Ручей течёт, шумит, сверкает."]
  4. Adieu les beaux jours. Romance. "Déjà la tendre fleur d’automne Est le jouet des aquilons."
  5. L’Exilé polonais. Couplets. "Voulant des chefs et non des maîtres Nous avions vaincu les tyrans.
  6. L’Enfant et la Mère. Dialogue. [Known also as La Mère et l’Enfant and L’Enfant malade.] "Oh! ma mère, entends cette voix Qui chante et doucement m’attire."
  7. L’Ombre et le Jour [Уже бегут ночные грёзы]. Mélodie. [Known also as La Nuit et le Jour.] "Vois-tu la nuit qui se retire, Vois-tu l’orient qui se teint?"
  8. Le Chêne et le Roseau. Fable. ‘‘Le chêne, un jour, dit au roseau: Vous avez bien sujet d’accuser la nature."
  1. Solitude
  2. La petite chevrière
  3. L'absence
  4. Un jour de printemps
  5. Villanelle
  6. En mer
  7. La chanson de Loïc (Young Breton shepherd)
  8. Marie et Julie "Les lys sont bien charmants", for Tenor and Piano
  9. La Luciole
  10. Tarentelle
  • Favourite Spanish songs, performed by Mme Viardot and Mme Léonard [Любимые испанские романсы, исполняемые г-жою Виардо и г-жою Леонар] (1853). Arranged by Pauline Viardot; St Petersburg: Brandus. 1853
  1. La celeste. Canción andaluza.
  2. Ay! Manola. Canción española.
  3. La Colasa. Canción madrileña.
  • Romances (1863), probably unpublished [1]
Когда печаль слезой невольной (Lermontov, from (Maskarad [Маскарад])
Какая ночь (Fet)
Psikheya [Психея] Fet) (perhaps "Целый заставила день меня промечтать ты сегодня")
Чудная картина, Как ты мне родна (Fet) (1863). Music album copy at Harvard, 1863
  • Ave Maria. VWV 1214 (1864) (Another one from 1901, or pub.?) Transcription for organ, piano or harp, violin and three women’s voices of the Bach-Gounod Ave Maria. Written and performed in mid-October 1864, this work probably remained unpublished. See L’Illustration de Bade, 29 October 1864, pp. 144-5; Erna Brand, Aglaja Orgeni. Das Leben einer großen Sängerin, Munich, 1931, pp. 144-5; Berthold Litzmann (ed.), Letters of Clara Schumann and Johannes Brahms, 1853-1896, 2 vols, London and New York, 1927, vol. I, pp. 175-6.
  1. Flower [Цветок]
  2. Upon the Hills of Georgia [На холмах Грузии]
  3. Тихая звёздная ночь
  4. Midnight Images [Полуночные образы]
  5. Шёпот, робкое дыханье
  6. Invocation [Заклинание "О, если правда, что в ночи"]
  7. Синица "Слышу я: звенит синица"
  8. Two Roses [Две розы "Полно спать: тебе две розы"]
  9. Ночью "Мой голос для тебя"
  10. Узник "Сижу за решёткой в темнице сырой"
  11. Птичка божия
  12. Stars (Les étoiles)/Die Sterne [Звёзды "Я долго стоял неподвижно"], VWV 1059
  1. [Op.50, No.2] Seize ans! "Voici que j’ai seize ans" (Sixteen years) / Szesnaście lat [Шестнадцать лет]
  2. [Op.33, No.2] Aime-moi "Tu commandes qu’on t’oublie" (Love me)/Me mandas que te olvide/Tanzweise/Kochaj mnie, VWV 4020
  3. [Op.6, No.1] Plainte d'amour "Chère âme, sans toi j’expire" (Love's complaint)
  4. [Op.7, No.1] Coquette "De n’aimer que toi Je donne ma foi, Tra la la la" [Кокетка "Чтоб тебя любить"]
  5. [Op. 68, No. 2] L'Oiselet "Le ciel est clair et l’air est doux" (Pretty bird. "The air is soft, the sky is clear." [Опять весна пришла]
  6. [Op. 24, No. 1] Séparation (Duo) "Pars, et nous oublie" / "Reste, ô mon amie"
  7. [Op. 6, No. 4] La Fête "Ah! le village est tout en fête" / Przed mazurem
  8. [Op. 7, No. 3] Faible cœur! "Prépare-toi, faible cœur" / Biedne serce
  9. [Op. 24, No. 2] La Jeune fille "Quand on est jeune et gentille" (The young girl) / Dzieweczka
  10. [Op. 33, No. 3] Berceuse "Enfant, cède au sommeil qui ferme ta paupière" (Lullaby). This song was later known as Seconde berceuse. / Kołysanka
  11. [Op. 50, No. 1] La Danse "Tallara la lalla, tallara la lalla" (The dance) / Pierwsza para
  12. [Op. 67, No. 1] La Beauté. Duo "La beauté dans ce bas monde Règne sans seconde" (Beauty) / Do pięknej
  • 10 Poems by Pushkin, Lermontov, Koltsov, Tyutchev and Fet [Десять стихотворений Пушкина, Лермонтова, Кольцова, Тютчева и Фета] 1865 Russian / German
  1. Отчего, скажи, Мой любимый серп К
  2. Ночью, во время бессонницы "Мне не спится" П
  3. Я любила его К
  4. Серенада "Тихо вечер догорает" Ф
  5. Для берегов отчизны дальной П
  6. Ветка Палестины "Скажи мне, ветка Палестины" Л
  7. Не пой, красавица П
  8. Колыбельная песня "Спи, младенец мой прекрасный"
  9. Ива "Что ты клонишь над водами" Т
  10. Буря "Буря мглою небо кроет" П
  1. Fleur Desséchée [Цветок засохший, безуханный]
  2. La Mesange [Синица] (also existed with violin accompaniment)
  3. Les Ombres de Minuit [Полуночные образы VWV 1089?]
  4. Berceuse Cosaque [Казачья колыбельная песня "Спи, младенец мой прекрасный"]
  5. Evocation (Die Beschwörung / Bodenstedt) [Заклинание "О, если правда, что в ночи"] VWV 1041 (1863)
  6. Chant du Soir [Серенада ("Тихо вечер догорает")]
  7. Les Deux Roses [Две розы] VWV 1055 (1863)
  8. Aurore [Шёпот, робкое дыханье]
  9. Georgienne [Не пой, красавица, при мне]
  10. Le Rameau de Palestine [Ветка Палестины]
  11. Chanson de la Faucille [Грусть девушки "Отчего, скажи, мой любимый серп?"]
  12. L'Orage "Enfin de l’orage l’azur se dégage!" [Туча "Последняя туча рассеянной бури"] / Die Wolke "Du letzte der Wolken des Sturms, der zerstoben"
  • 5 Poems by Lermontov and Turgenev [5 стихотворений Лермонтова и Тургенева], for Voice and Piano (1868)
  1. На заре "Сон не коснулся глаз моих" (Turgenev); Text stated to be by Turgenev, but actually his rendering of ‘In der Frühe’, by Eduard Mörike. Dedicated to O.F. von Minckwitz [Ol’ga Fëdorovna Minkvits]
  2. Утёс (Lermontov); Dedicated to Yu. F. Abaza
  3. Разгадка "Как приливала к сердцу" (Turgenev); Text stated to be by Turgenev, but actually his rendering of ‘Räthsel’, by Richard Pohl; Dedicated to Ye.A. Lavrovskaya
  4. Разлука "О разлука, разлука!" (Turgenev); Text stated to be by Turgenev, but no doubt translated by him from a French original. Dedicated to A.A. Khvostova, afterwards Polyakova
  5. Русалка "Русалка плыла по реке голубой" (Lermontov); Dedicated to A.V. Klemm
  • 2 Romances after Goethe and Édouard Turquety, trans. by Turgenev [Два романса на слова Гёте и Е. Тюркести [sic] в переводе Тургенева] (1869)
  1. Перед судом "Под сердцем моим"; The text is Turgenev’s translation of Goethe’s ‘Vor Gericht’—‘Von wem ich es habe, das sag’ ich euch nicht’.
  2. Ночь и день "Уже бегут ночные грёзы"; The text is Turgenev’s translation of Turquety’s ‘Vois-tu la nuit’
  1. In der Frühe ‘Kein Schlaf noch kühlt das Auge mir. Dort gehet schon der Tag herfür.’ (In the early hours) [На заре "Сон не коснулся глаз моих"] (Turgenev)
  2. Nixe Binsefuß. ‘Des Wassermanns sein Töchterlein Tanzt auf dem Eis im Vollmondschein.’
  3. Der Gärtner (The gardener) [Садовник] (Turgenev), VWV 1097
  1. Лесная тишь (Pohl)
  2. Verfehltes Leben "Sie schaut nach der sinkenden Sonne" [Загубленная жизнь "Глядит на закат она солнца"] (Pohl)
  3. Der Gärtner [Садовник "Верхом на лошадке"], VWV 1097; (Mörike) 1870. ‘Auf ihrem Leibrößlein, so weiss wie der Schnee.’ (Dedicated to Frau Désirée Artôt.) Leipzig and Weimar: Robert Seitz. 1870
  4. Räthsel [Ожидание "Он дома сейчас"] (Pohl) ‘In deinen Augen schlummert Ein holdes Rätselwort.’ (Dedicated to Herr [Hans Feodor] von Milde.) Leipzig and Weimar: Robert Seitz. 1870
  5. Былое счастье "Счастья дни!" (Mörike)
  6. Das ist ein schlechtes Wetter [Стоит погода злая! (Что за погода злая!)] (Heine); Dedicated to Fräulein Marianne Brandt. Leipzig and Weimar: Robert Seitz. 1870. The Médiathèque Hector Berlioz has a manuscript of this song dated Karlsruhe, January 1869, which includes above the stave a French text beginning ‘Le temps est à l’orage’. Harvard has a manuscript datable probably to late 1868.
  • Duo, 2 solo voices and piano (1874)
  • 100 songs including 5 Gedichte (1874)
  • 5 Poems by Goethe, Pushkin, Mörike, Geibel and Pohl (5 Gedichte von Gothe, Puschkin, Mörike, Geibel und Pohl) [5 стихотворений Гёте, Пушкина, Морике, Гейбель и Поля] (pub. 1874)
  1. Слепец "По жизненному полю" (Der Nachtwandler)
  2. Финская песня "Лишь бы милый воротился" (Finnisches Lied)
  3. Юноша и дева "Юношу, горько рыдая" (Der Jüngling und das Mädchen)
  4. Солдатская невеста "Солдат удалой мой жених!" (Die Soldatenbaut)
  5. Весенний вечер "Весенний влажный вечер"] (Im April)
  1. Spring-time (Le Printemps "Filles, garçons, honneur de nos hameaux") [D.783, no. 1]
  2. Autumn [Твои очи] (Tes Yeux "La rose nouvelle dans tes noirs cheveux") [D.969, No.9]
  3. Dance, young maidens (Dansez Fillettes "Vite, vite, vite, accourez près de nous") [D.783, No.6].
  1. Serenata Fiorentina/Sérénade florentine/Florentinisches Ständchen [Флорентийская Серенада]
  2. Céra una volta/Reproches/Die Verlassene [Бывало, я с тобою говорила]
  3. Non vi maravigliata/La Chanson Villageoise/Die Dorfsängerin [Не удивляйтесь]
  4. Povera me!/L’Affligée/Die Unglückliche [Бедняжка я!] (aka Скажи лишь слово "В волнах бездонных")
  5. La innamorata/Indécision/Doppel-Liebe [Влюблённая "По двум красивым парням я вздыхаю"]
  • Цветок "Увял цветок" / Une fleur. Romance. "Fleur pâle, fleur desséchée", for Voice and Piano (1878) Russian / French. Translated by Ivan Kalashnikov (1797-1863) from the (here unattributed) poem by Edouard Turquety, first used by Pauline Viardot in her song "Une fleur" of 1843. Published now in [Сборник 25 любимых романсов иностранных композиторов] (Recueil des vingt-cinq romances préférées des compositeurs étrangers). St Petersburg: M. Bernard. 1878. —Moscow: P.I. Yurgenson [Jurgenson]. 1887. Note that only this Moscow edition of 1887 Included the French title and text. The translation had perhaps been made very many years before by Kalashnikov, who died in 1863.
  • 4 Lieder (1880), for Voice and Piano. Berlin and Posen: E. Bote & G. Bock, 1880
  1. Ständchen. ‘O schönes Mädchen du, Du mit dem schwarzen Haar.’ A setting of Goethe’s poem ‘Anliegen’
  2. Die Soldatenbraut "Ach, wenn’s nur der König auch wüßt" [Солдатская невеста "Солдат удалой мой жених!"] A setting of the poem by Eduard Mörike
  3. Verfehltes Leben "Sie schaut nach der sinkenden Sonne" [Загубленная жизнь "Глядит на закат она солнца"] A setting of the poem by Richard Pohl
  4. Der Nachtwandler "Mein Leib ist wie gefesselt" [Слепец "По жизненному полю"] A setting of the poem by Richard Pohl
  • На лодочку мы сядем удалую (1880)
  • Перед тобою чем я провинилась (1880)
  • Хотела бы быть я пташечкою малой (1880)
  • Хочу я плакать (1880)
  • Я умру (1880)
  • Старый муж, грозный муж. Песнь Земфиры (Пушкин) (1880-2)
  1. À la Fontaine, VWV 1133
  2. Belle Yoli, VWV 1134
  3. Ici-bas tous les lilas meurent (In this world) [Здесь сирень так быстро увядает], VWV 1176
  4. Sérénade à Rosine, VWV 1137
  5. Madrid, VWV 1136
  6. Les filles de Cadix (The Girls of Cadix), VWV 1135
  1. Sylvie (Sylvia) "Voici les lieux charmants"
  2. Berceuse (Cradle song) [Колыбельная песня]
  3. Sérénade [Серенада]
  4. L'énigme [Разгадка?]
  5. Le miroir [Вот зеркало моё]
  6. Insommie [Ночью, во время бессонницы "Мне не спится"]
  1. Que l'on médise d'elle, VWV 4003
  2. Cruel, ta perfidie, VWV 4004
  3. Ô pauvre âme!, VWV 4005
  4. Songes, VWV 4006
  5. Dites, que faut-il faire!?, VWV 4007
  6. Plus d'espérance!, VWV 4008
  1. Le Toréador, VWV 1028
  2. Péronelle, VWV 1147
  3. Poursuite, VWV 1148
  4. Sara la Baigneuse (Sara the bather), VWV 1146
  5. Le vase brisé (The broken vase) [Разбитая ваза], VWV 1149
  6. Le savetier et le financier, VWV 1145
  • Vocal arrangements of instrumental works by Johannes Brahms, Joseph Haydn and Franz Schubert
Цыганки (Дуэт) "Ах! Мы точно козочки резвимся", after Brahms' Hungarian Dance (Victor Wilder, Russian text by A. Gorchakova)

This is a vocal arrangement of Brahms’s Ungarische Tänze, no. 6, also part of no. 5. It became available in a number of versions and imprints, all with the same general title, including: —Pour une voix avec accompagnement de piano. —Duo. —Duo pour deux voix [et piano]. —Duo ou chœur [pour soprano et mezzo-soprano]. —Duo ou chœur (chant seul). —Duo (ou chœur à deux voix) pour voix de femmes. Edition de salon (sans vocalises). —A quatre voix mixtes avec piano. —Among further adaptations of this work one may note: Chanson hongroise. No. 1. Quatuor vocal ou chœur. D’après les “Bohémiennes” de Mme Viardot. Musique de J. Brahms. Paroles de Wilder. Par F. Desgranges. Paris: J. Hamelle. 1910. "Ah! Plus vagabondes que les chèvres, Et le refrain joyeux aux lèvres" Paris: J. Hamelle. ?1880; 1886; 1899; 1903; 1905. Note that the French duet editions carried also a Spanish text: Ay! El amor de mi mozuela yo no le puedo entender. (Pauline Viardot’s source for this was probably Zamácola’s Colección, p. 198.) —Ах! Мы горных козочек резвее и наша песнь звончей свирели. Брамс. Венгерские песни на один или два голоса. (Brahms. Chants hongrois à une ou à deux voix. No. 43. Unattributed contribution with Russian words by Grigory Lishin to: Лира. Собрание арий, каватин и романсов, на один и два голоса, с русским переводом. (Lira. Sobraniye ariy, kavatin i romansov, na odin i dva golosa, s russkim perevodom.) Lyre. Recueil d’airs, de cavatines et de romances. St Petersburg: V. Bessel’ & Co. 1881. —Цыганки. ‘Ах! Мы точно козочки резвимся, поëм, смеëмся, веселимся.’ Дуэт из Венгерских танцев [для двух сопрано с фортепиано]. Музыка И. Брамса. Слова В. Вильдера. Перевод А. Горчаковой. Les Bohémiennes. Duo d’après les Danses hongroises de Joh. Brahms. Arrangé par Mme P. Viardot. In: Выбор любимых романсов и песен иностранных авторов с аккомпанементом фортепиано. Auswahl der beliebsten Lieder und Gesänge mit Beleitung des Pianoforte.Приложение (Prilozheniye) III, no. 79. Moscow: A. Gutkheyl’ (Gutheil). 1887; 1929; 1941. —St Petersburg: V. Bessel’. ?1887. —Johannes Brahms. The Gipsies. Les Bohémiennes. A song for voice and piano. Arranged by Mme P. Viardot. English words by Charlotte H. Coursen. New York: G. Schirmer. 1883. —Ditto, duet for soprano and mezzo-soprano. 1883. —Zigeunerlied. Gipsey [sic] Song. ‘Wir! Wir leben nur von heut’ auf morgen.’ ‘We live today alone.’ Deutsche Übersetzung von Frau O. Malybrok-Stieler. Duett für zwei Singstimmen nach einem der Ungarischen Tänze von J. Brahms, arrangirt mit Begleitung des Pianoforte von Pauline Viardot. English version by Mrs John P. Morgan of New York. (Mrs Morgan’s translation is the only translation authorised by the composer.) Berlin: N. Simrock. 1886. —Zigeunerlied nach den Ungarischen Tänzen no. 5 und 6 von Johannes Brahms. Ausgabe als Duett mit Klavierbegleitung von Pauline Viardot. Berlin and Leipzig: N. Simrock. 1909.



  • Дуэты и трио для сопрано и альта с фортепиано. М., 1966 2489 Russian / French
Хаванез (Pomey)

Instrumental

  • According to some contemporary authorities, Pauline Garcia wrote the piano accompaniments to the violin studies of her brother-in-law Template:LinkNameCharles. See Escudier, p. 153; Fétis, Supplément, vol. II, p. 620. (Mid-1830s)
  • Valse, for piano (1855). Journal "Messager des dames et des demoiselles", 17 June 1855, p. 1.
  • Petite Suite, for Piano, Violin, Tambourin and Triangle (1866); Composed by Pauline Viardot for her children, this work seemingly remained unpublished. See Turgenevskiy sbornik, vol. I, pp. 317-18. Manuscripts of two or three of the pieces are at Harvard.
  1. Allegretto
  2. Scherzo
  3. Andante
  4. Tarentelle
  • Marche Militaire, for 2 flutes and piccolo, 2 oboes, 2 brass choirs (1867); Central-Partitur für die gesammte Militärmusik eingerichtet von Wilhelm Wieprecht. Berlin and Posen: Bote & Bock. 1870; 1871. Also known as the Militärmarsch, was composed for and dedicated to the Queen of Prussia in March 1867. Apparently not published at that time, it is said to have been scored originally for two flutes and piccolo, two oboes and two brass choirs. A manuscript of the work at the Staatsbibliothek zu BerlinPreußischer Kulturbesitz, Musikabteilung (Mus. ms. 22330), is, however, scored differently and dedicated actually to the King of Prussia.
  • Mazourke, VWV 3012, for Piano (1868)
  • Introduction et polonaise, for piano 4 hands (1873); Dedicated to Henri Reber.) Paris: E. Gérard & Cie. 1873; 1874. This existed also in a version for two hands.
  • Second album russe, for piano (1874)
  • Sonatine, for violin and piano (1874); Paris: E. Gérard & Cie. 1874 (Dedicated to Monsieur [Hubert] Léonard.) A partial manuscript of this exists in a private collection.
  • 2 Pieces, for Piano (1885). Paris: Henri Heugel, 1885
  1. Gavotte. (Dedicated to Eugénie Harouel-Garcia.) This piece was published first by Le Ménestrel on 27 September 1885. Note that it existed also as a duet.
  2. Sérénade. (Dedicated to Caroline Montigny-Rémaury.) This is an arrangement of music used for a song of the same title (6 Mélodies. Deuxième série, No.3). A manuscript of Gavotte, dated 1884, is at Harvard; another at the Médiathèque Hector Berlioz is dated Chaville 12 September.
  • Tristesse (Piece facile), for Violin and Piano (1902)
  • Suite arménienne (Quand même!), for piano 4 hands (1904). Paris: “Auditorium Musical”, G. Miran, Editeur. 1904
  • Défilé Bohémien, for Piano 4 hands (1905). Dedicated to Mme Edouard Lyon (Fanny Coche) Paris: “Auditorium Musical”, G. Miran, Editeur. 1905. —Orchestré par I. Snoèk. Paris: “Auditorium Musical”, G. Miran, Editeur. 1905. (See Bibliothèque nationale de France, Département de la Musique, Vm26 20596.) This march was perhaps connected with a so-called ‘défilé bohémien’ forming part of a show put on by the Société des humoristes at the Casino de Paris on 17 May 1905, in honour of Jacques Callot. See Revue illustrée, 1 May 1905, (unnumbered) pp. 2, 8; Le Gaulois, 5 May 1905, p. 1 col. d. The Médiathèque Hector Berlioz has a manuscript, entitled Marche bohémienne.

Arrangements and Transcriptions

  • Aria "Ombra mai fù" from Handel's Serse, HWV 40, for Voice, Piano and Violin (or Cello) (1883)