谁和Emma Bardac约会过?

  • Gabriel Fauré 日期为 Emma Bardac,从 ? 到 ?. 年龄差距为 17 年 1 个月零 28 天.

Emma Bardac

Emma Bardac

Emma Bardac (née Moyse; 10 July 1862 – 20 August 1934) was a French singer and the mutual love interest of both Gabriel Fauré and Claude Debussy.

Of Jewish descent, Emma married in the Synagogue of Arcachon, aged 17, Parisian banker Sigismond Bardac, by whom she had two children: Raoul, and Régina-Hélène (later Madame Gaston de Tinan (1892–1985)). Emma was an accomplished singer and brilliant conversationalist. Fauré wrote his Dolly Suite in the 1890s for Regina-Hélène and La bonne chanson for Emma.

After her affair with Fauré, Emma was introduced to Debussy in late 1903 by her son Raoul, one of his students. In the summer of 1904, after a secret vacation with Emma in Jersey, Debussy wrote to his wife Rosalie ("Lilly") Texier announcing the end of their marriage. Distraught, Texier attempted suicide with a revolver. The ensuing scandal alienated Bardac and Debussy from friends and family, and in the spring of 1905 they fled to England, where they finalized their divorces, Emma from Sigismond on 4 May, Debussy from Rosalie on 2 August. They returned to Paris in time for the birth, on 30 October, of their daughter Claude-Emma, nicknamed "Chouchou", and dedicatee of his Children's Corner Suite composed in 1909. The couple bought a large house in a courtyard development off the Avenue du Bois de Boulogne (now Avenue Foch), where Debussy would reside for the rest of his life. Bardac eventually married Debussy in 1908, their troubled union enduring until Debussy's death 10 years later. Claude-Emma died while recovering from diphtheria in 1919 when the doctor gave her the wrong treatment, the year after her father's death. Emma Bardac died in 1934 and, like Claude-Emma, was buried in Debussy's grave in the Cimetière de Passy in Paris.

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Gabriel Fauré

Gabriel Fauré

加布里埃爾·于尔班·福雷(法語:Gabriel Urbain Fauré法語發音:[ɡabʁiɛl yʁbɛ̃ fɔʁe];1845年5月12日—1924年11月4日),法國作曲家、管風琴家、鋼琴家以及音樂教育家。福雷前承聖桑,後繼者則有拉威爾與德布西;早期與聖桑一同為法國國民樂派奠基,後期在巴黎音樂學院任內力行改革,提拔後進,對於法國近代音樂發展起了軸承的作用。佛瑞的音樂作品以聲樂與室內樂聞名,在和聲與旋律的語法上也影響了他的後輩。

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