Roussel, Albert (Charles Paul

Marie)
(b Tourcoing, 5 April 1869; d Royan, 23 Aug 1937). French
composer. Though he was touched by the successive waves of
impressionism and neo-classicism in French music, he was an
independent figure, his music harmonically spiced and rhythmically
vigorous.
1. Life.
2. Works.
WORKS
BIBLIOGRAPHY
NICOLE LABELLE
Roussel, Albert
1. Life.
Roussel was born into a family of industrialists, highly regarded
makers of curtains and carpets. His early childhood was
overshadowed by an unusual incidence of bereavements, which
may explain the solitary and independent aspects of his
personality. He lost first his father, who died of consumption in
1870, next his paternal grandparents, between 1874 and 1876, and
then his mother, who succumbed to pulmonary tuberculosis in
1877. He went to live with his maternal grandfather, Charles
Roussel-Defontaine, mayor of Tourcoing, who died in his turn in
1879. At the age of ten, Roussel was taken into the care of his
maternal aunt, Eugnie, and her husband, Flix Rquillart. He had
learnt the rudiments of music from his mother, and in 1880 he had
his first lessons with the parish organist, who recognized his
natural talent. He attended the Institution Libre du Sacr-Coeur,
where his exam results indicated a gifted and diligent student,
especially in French composition and mathematics.
When he was 15, his guardians decided to send him to Paris, to
pursue his studies at the Collge Stanislas. Jules Stolz, organist of
St Ambroise, gave him piano lessons and introduced him to the
cardinal works of the repertory. Roussel passed the entrance
examination for the Ecole Navale in 1887 and embarked in October
of that year on the Borda, passing out as a midshipman two years
later. He was sent to sea several times, notably to the Near East.
He first essayed musical composition in 1892, during a voyage on
the Melpomne: it was no doubt for a violin-playing fellow-sailor
that he wrote his Fantaisie for violin and piano, and he went on to
set several excerpts from an Indian legend. In 1893, by then a
lieutenant, he set sail on the Styx for Cochin-China. On his return
to France in 1894 he took three months' leave, which he extended
and passed in Roubaix, where he studied harmony with Julien

Koszul. Koszul urged him to settle in Paris and recommended him

to the celebrated organist Eugne Gigout.
At 25 Roussel decided to become a musician and sent a letter of
resignation from the navy, dated 14 June 1894. He settled in Paris
that October and began to study music. Four years later he entered
the Schola Cantorum, where he studied under d'Indy. In 1902
d'Indy entrusted him with the counterpoint class, which he took
until June 1914; his pupils included Varse, Satie, Le Flem, Raugel
and Roland-Manuel. Later, during the 1920s, he was to be the
mentor of composers such as Martin, Conrad Beck and Jean
Cras.
He became known to a limited public thanks to Cortot, who
conducted his first orchestral work, Rsurrection (1903), at one of
the concerts of the Socit Nationale. Cortot's interest in Roussel's
music led him to feature Soir d't (1904) at one of the lectures of
the Socit des Concerts Cortot. Soir d't became the third
movement of the First Symphony, the Pome de la fort (19046),
which was first performed in 1908, in Brussels, under Sylvain
Dupuis.
It was also in 1908 that Roussel married Blanche Preisach (1880
1962), a Parisian of Alsatian descent, and composed music for
Jean-Aubry's Marchand de sable qui passe. Jean-Aubry had this
refined and delicate score performed at the Cercle de l'Art
Moderne in Le Havre, of which he was the founder. In September
1909 the Roussels set sail on a three-month voyage to the Indies
and Cambodia, an experience which inspired two of the
composer's major works: Evocations (191011) and Padmvat
(191318).
Following the resounding success of Evocations, Jacques Rouch,
then director of the Thtre des Arts, asked Roussel to write the
ballet score Le festin de l'araigne (1913). This was so successful
that Rouch, newly appointed director of the Opra, next
commissioned an opera from Roussel to inaugurate his term of
office there. Recalling a Hindu legend he had heard during his
voyage to India, Roussel began to compose Padmvat to a libretto
by Louis Laloy.
But war interrupted the work. Though he had been removed from
the reserve list in 1902 for health reasons, Roussel took steps to
join the army as a lieutenant in the artillery. From 1915 he served
as a transport officer in Champagne and the Somme until Verdun.
He was finally invalided out in February 1918. In the summer of
1919 he moved to Cap Brun, near Toulom, where he began his
Second Symphony. Illness forced him to break off work and go to
convalesce in the mountains near Grenoble early in 1920. There
he wrote his symphonic poem Pour une fte de printemps, which
he dedicated to his teacher Gigout.
In 1920 Roussel and his wife bought a magnificent property at
Varengeville, not far from the sea, near Dieppe. Here Roussel

finished the Second Symphony and composed most of his

remaining works. The Second Symphony was coolly received at its
premire on 4 March 1922, but when Koussevitzky conducted it the
following year the public was more responsive. The premire of
Padmvat, for which Roussel had been hoping since the end of
the war, at last took place in 1923, to critical acclaim.
The war years had marked a caesura in Roussel's work, and he
had the chance to reflect. The near failure of the Second
Symphony prompted him to take a new direction and abandon the
outdated aesthetics that had held him in thrall. From this time
forward he aspired to compose a purer music: less cluttered,
cleansed, more personal. La naissance de la lyre was the first
product of this resolve, exhibiting a new simplicity and a serenity in
which music, dance, spoken dialogue, singing and choral writing all
blend.
His reputation was spreading outside France: his music was played
in numerous European and North American venues, and he
received commissions from foreign performers, patrons and
publishers. In Paris, festivals of his works were organized by the
Socit Musicale Indpendante, in 1925 and 1929; on the latter
occasion his 60th birthday was marked by four concerts of
orchestral, vocal and chamber music. This was the highpoint of his
career. In 1930 he and his wife went to Boston and Chicago to hear
the Third Symphony, written for the 50th anniversary of the Boston
SO and conducted by Koussevitzky, and the Trio op.40, an
Elizabeth Sprague Coolidge commission. The journey was a
triumphant success and the American public received him warmly.
In 1931 the ballet Bacchus et Ariane was performed at the Paris
Opra, choreographed by Serge Lifar. Roussel's theatrical and
symphonic qualities had equal scope in this exceptional score. The
operetta Le testament de la tante Caroline (19323) reveals the
poker-faced humour that is also present in several of the chamber
works. Roussel had the pleasure of seeing Le testament presented
at the Opra-Comique in Paris in March 1937, after its premire in
Olomouc in November 1936, in a Czech translation by his pupil
Julia Reisserova.
In February 1934 he had suffered pneumonia, complicated by
jaundice. He was confined to bed until the summer and returned to
work only slowly, in his house in Varengeville, where he wrote his
Sinfonietta for Jane Evrard's string orchestra. At the same time he
composed his Fourth Symphony, which received a breathtaking
performance under the baton of Albert Wolff. Hermann Scherchen
commissioned the ballet score Aeneas for a concert given on 31
July 1935 at the Palais des Beaux-Arts in Brussels. The Belgian
press was unanimous in its praise for this very personal work.
In the desire to build on this success, Roussel in April 1936
composed his Rapsodie flamande on five themes from Ernest
Closson's collection Chansons populaires belges. Then, just after

finishing his Cello Concertino, he was laid low by an attack of

angina, on 27 August. After a long convalescence in Nice he
resumed work on the preparations for the musical section of the
Paris Exhibition of 1937 and the ISCM Festival, of which he was
president. Back in Varengeville, he composed his Trio op.58. He
fell ill again and regretfully left his much-loved home, where the
climate was too severe for him, and moved to Royan. Though very
tired, he began a wind trio, but did not finish it. He suffered a heart
attack on 13 August 1937 and died ten days later. He was buried,
in accordance with his wishes, in the little cemetery of Varengeville,
overlooking the sea.
Roussel, Albert
2. Works.
Roussel's career coincided with two distinct historical periods, the
first stretching from the late 19th century to the outbreak of World
War I, the second ending as World War II approached. To some
extent his music reflects the predominant styles of French music in
those years. It is certainly stamped by the lateness of his decision
to dedicate himself to composition. Diverse influences are evident
in the works of his early manner, but he gradually shed them work
by work, until he arrived at a unique personal language in which he
was to have no followers. His career was one of evolution, not
revolution, and though traces of various aesthetic schools can be
found in his music, the distinctive, representative signs of a
Rousselian style shine through.
The traditional forms, cyclic principle and programmatic content of
the earliest works (the Piano Trio, Violin Sonata and First
Symphony) testify to the influence of the Schola. The composer's
personality begins to reveal itself in chamber works and the eight
Rgnier songs. The Divertissement for wind quintet and piano
(1906) exhibits several elements of his future style: sprightly
rhythms and dissonance-enriched harmonies. The Deux pomes
chinois op.12 presage his future oriental interests, while the
delicate incidental music for Le marchand de sable qui passe
reveals a poet of sensations. Roussel's impressionism is not that of
Debussy or Ravel, for his music transmutes sensations into more
abstract images.
If Rustiques (19046) presents a sharp contrast to its predecessor
among his major piano works in respect of harmonic language,
counterpoint and rhythmic ingeniousness, the Suite op.14,
composed five years later, testifies to a profound change. While
rhythm becomes more stable, the harmonic writing ranges wider,
through the use of the tritone and certain destabilizing intervals,
notably ones originating in Indian modes, and through Roussel's
liking for uncommon harmonic combinations and independent
counterpoint. Although the Suite contains Roussel's first
experiments with Indian modality, the full depth of this influence
emerged only in the later Evocations. A broad panorama in three

movements, with chorus and soloists, transporting the listener to

India, this symphonic poem is in its dramatic power, orchestral
colour, exotic influences and structure one of the great successes
of French music in the period immediately before World War I. A
renewal of interest in the piano led Roussel to write the Sonatine,
which is distinguished by its formal elegance and the crystallization
of previous experiments with rhythm, harmony, counterpoint and a
more homogenous and coherent pianism. Le festin de l'araigne
marks the conclusion of Roussel's first period. This first ballet score
has a seductive lightness, spontaneity, irony and refinement of
style and orchestration. It is realistic rather than impressionistic,
depicting the ferocity of the insect world meticulously but not
excessively so, and it exhibits characteristically Rousselian
rhythmic motives.
Padmvat represents the culmination of Roussel's fascination with
India, in its subject matter the legend of the Queen of Chitor
and in its masterful integration of an Indian modal language into the
composer's harmonic style. Dark, brooding orchestral colours,
emotionally effective choruses and danced numbers, and poignant
solo writing all evoke the majesty of Hindu temples and the tragic
destiny of the characters.
Roussel reached a turning-point as the 1920s dawned. He looked
for a style and new techniques that would enable him to organize
his musical ideas, and Pour une fte de printemps and the Second
Symphony are the witnesses to this process. More chromaticism,
the use of bitonality in more ample forms and a more complex
harmonic language in the symphony are the dominant
characteristics of this period of transition.
The mature works which begin with the orchestral Suite in F
include several compositions for a variety of ensembles, but the
flute occupies a privileged position. Roussel pays his dues to
contemporary taste in borrowing musical forms from the 18th
century and rediscovering the spirit of concision typical of that
epoch in the Concert for small orchestra, the Piano Concerto, the
Cello Concertino, the Petite suite, the Sinfonietta, the String
Quartet and the Third and Fourth symphonies, but it is the
grandeur of his contrapuntal and linear writing that makes the
greatest impression. The melodies, now of an unprecedented
amplitude and often using large intervals, are closely interwoven so
that they generate harmonic amalgamations of astonishing novelty.
The orchestration, whether vivid and richly coloured or slender and
pared down, always serves the cleanly shaped themes. There is no
denying Roussel's rhythmic ingenuity, with its predilection for the
anapaest and for irregular subdivisions of the beat. He may seem
reserved, but he allows his passionate nature to express itself
without restraint in Bacchus et Ariane, a dazzling, sumptuous
score. The imposing Psalm lxxx and Aeneas choral symphonies
in their way, but stripped of excess move the listener by their

simplicity and interiority. An extreme refinement informs the last

songs and the String Trio.
In the music Roussel composed after 1925 he achieved his ideal of
a music willed and realized for its own sake. An eclectic, he forged
a personal, unique style in a modern idiom resting on the
foundations of traditional music. Never having wished for disciples,
he remained independent and unique.
Roussel, Albert
WORKS
stage
op.
13 Le marchand de sable qui passe (incid music, 1, G. Jean-Aubry), 1908; cond.
Roussel, Le Havre, 16 Dec 1908
17 Le festin de laraigne (ballet-pantomime, 1, G. de Voisins after H. Fabre:
Souvenirs entomologiques), 191213; cond. G. Grovlez, Paris, Arts, 3 April
1913; extracts arr. as Fragments symphoniques, 1913
18 Padmvat (opra-ballet, 2, L. Laloy), 191318; cond. P. Gaubert, Paris, Opra,
1 June 1923
24 La naissance de la lyre (conte lyrique, 1, T. Reinach, after Sophocles), 19224;
cond. P. Gaubert, Paris, Opra, 1 July 1925
Sarabande [for Lventail de Jeanne], ballet, 1927; cond. Dsormire, Paris, 16
June 1927
43 Bacchus et Ariane (ballet, 2, A. Hermant), 1930; cond. P. Gaubert, Paris,
Opra, 22 May 1931; extracts arr. as 2 orch suites; no.1, Paris SO, cond.
Mnch, Paris, Salle Pleyel, 2 April 1933; no.2, Paris SO, cond. Monteux, Paris,
Salle Pleyel, 2 Feb 1934
Le testament de la tante Caroline (opra-bouffe, 3, Nino [M. Verber]), 19323;
cond. A. Heller, Olomouc, 14 Nov 1936; in Fr., cond. R. Dsormire, Paris, OC
(Favart), 11 March 1937
54 Aeneas (ballet, 1, J. Weterings), chorus, orch, 1935; cond. Scherchen,
Brussels, Palais des Beaux-Arts, 31 July 1935
Prelude to Act 2 of Le quatorze juillet (incid music, Rolland), 1936; cond.
Dsormire, Paris, Alhambra, 14 July 1936
59 Elpnor (radio score, Weterings), fl, str qt (1947)
orchestral
Marche nuptiale, 1893, destroyed
4 Rsurrection, sym. prelude after Tolstoy, 1903, cond. A. Cortot, Paris, Nouveau
Thtre, 17 May 1904
Vendanges, sym. sketch, c1905, cond. Cortot, Paris, Nouveau Thtre, 18 April
1905; destroyed
7 Le pome de la fort (Symphony no.1): Fort dhiver, Renouveau, Soir dt,
Faunes et dryades, 19046; complete, cond. S. Dupuis, Brussels, Monnaie, 22
March 1908
15 Evocations (M.D. Calvocoressi): Les dieux dans lombre des cavernes, La ville
rose, Aux bords du fleuve sacr, A, T, Bar, chorus, orch, 191011; cond.
Rhen-Baton, Paris, Salle Gaveau, 18 May 1912
22 Pour une fte de printemps, sym. poem, 1920; cond. Piern, Paris, Chtelet, 29
Oct 1921

23 Symphony no.2, B , 191921; cond. Rhen-Baton, Paris, Champs-Elyses, 4

March 1922
33 Suite, F: Prlude, Sarabande, Gigue, 1926; cond. Koussevitzky, Boston, 21 Jan
1927
34 Concert, small orch, 19267; cond. W. Straram, Paris, Salle Gaveau, 5 May
1927
36 Piano Concerto, G, 1927; A. Borovsky, cond. Koussevitzky, Paris, Salle Pleyel,
7 June 1928
39 Petite suite: Aubade, Pastorale, Mascarade, 1929; cond. Straram, Paris,
Champs-Elyses, 11 April 1929
42 Symphony no.3, g, 192930; Boston SO, cond. Koussevitzky, Boston, 24 Oct
1930
48 A Glorious Day, military band, 1932; Garde Rpublicaine, Paris, 14 July 1933
52 Sinfonietta, str, 1934; cond. J. Evrard, Paris, Salle Gaveau, 19 Nov 1934
53 Symphony no.4, A, 1934; cond. A. Wolff, Paris, Opra-Comique, 19 Oct 1935
56 Rapsodie flamande, 1936; cond. Kleiber, Brussels, Philharmonie, 12 Dec 1936
57 Concertino, vc, orch, 1936; Fournier, cond. Siohan, Paris, Salle Pleyel, 6 Feb
1937
chamber

2
6
11
21

27
28
29

30
40
41
45
51

58

Fantaisie, vn, pf, 1892, destroyed

Andante (Ave Maria), str trio, org, 1892; Cherbourg, 25 Dec 1892; destroyed
Horn Quintet, c1901; Paris, 2 Feb 1901; destroyed
Violin Sonata, c1902; Paris, 5 May 1902; destroyed
Piano Trio, E , 1902; Paris, 14 April 1904; M. Dron, A. Parent, L. Fournier,
Paris, Salle Pleyel, 4 Feb 1905; rev. 1927
Divertissement, wind qnt, pf, 1906; Socit Moderne des Instruments Vent, E.
Wagner, Paris, Salle des Agriculteurs, 10 April 1906
Violin Sonata no.1, d, 19078; A. Parent, M. Dron, Paris, Salon dAutomne, 9
Oct 1908; rev. 1931
Impromptu, harp, 1919; L. Laskine, Paris, 6 April 1919
Fanfare pour un sacre paen, brass, drums, 1921; Lamoureux Orch, cond.
Wolff, Paris, Opra, 25 April 1929
Joueurs de flte: Pan, Tityre, Krishna, Monsieur de la Pjaudie, fl, pf, 1924; L.
Fleury, J. Weill, Paris, Vieux-Colombier, 17 Jan 1925
Violin Sonata no.2, A, 1924; A. Asselin, L. Caffaret, Paris, Salle Gaveau, 15 Oct
1925
Sgovia, gui, 1925; Segovia, Madrid, 25 April 1925
Duo, bn, vc/db, 1925; F. Oubradous, A. Navarra, Paris, Revue Musicale, 30
Nov 1937
Srnade, fl, str trio, hp, 1925; Paris Instrumental Quintet, Paris, Salle Gaveau,
15 Oct 1925
Trio, fl, va, vc, 1929; Prague, 22 Oct 1929
Prelude and Fughetta, org, 1929; P. Pidelivre, Paris, 18 May 1930
String Quartet, D, 19312; Pro Arte Qt, Brussels, Palais des Beaux-Arts, 9 Dec
1932
Andante and Scherzo, fl, pf, 1934; G. Barrre, A. Roussel, Milan, Convegno, 17
Dec 1934
Pipe, D, flageolet, pf, 1934
String Trio, 1937; Trio Pasquier, Paris, Ecole Normale, 5 April 1938

 Andante [for inc. Trio], ob, cl, bn, 1937; Paris Wind Trio, Paris, Revue Musicale,
30 Nov 1937
vocal
Two Madrigals, chorus 4vv, 1897; cond. Roussel, Paris, Salle Pleyel, 3 May
1898; unpubd
Les rves (A. Silvestre), Pendant lattente (Mends), Tristesse au jardin (L.
Tailhade), 1v, pf, c1900
3 Quatre pomes (H. de Rgnier): Le dpart, Voeu, Le jardin mouill, Madrigal
lyrique, 1v, pf, 1903; J. Bathori, Cortot, Paris, Salle Pleyel, 21 April 1906
8 Quatre pomes (Rgnier): Adieux, Invocation, Nuit dautomne, Odelette, 1v, pf,
1907; Bathori, Roussel, Paris, Salle Erard, 11 Jan 1908; no.1 orchd, 1907
9 La mnace (Rgnier), 1v, pf/orch, 1908; E. Emgel, cond. L. Hasselmans, Paris,
11 March 1911
10 Flammes (Jean-Aubry), 1v, pf, 1908; S. Berchut, Roussel, Le Havre, 14 Feb
1909
12 Deux pomes chinois (H.P. Roch, after Giles): Ode un jeune gentilhomme,
Amoureux spars, 1v, pf, 19078; no.1, M. Pironnay, Roussel, Le Havre, 28
June 1907; no.2, S. Berchut, Roussel, Le Havre, 14 Feb 1909
19 Deux mlodies: Light (Jean-Aubry), A Farewell (E. Oliphant), 1v, pf, 1918; Lucy
Vuillemin, Louis Vuillemin, Paris, Salle des Agriculteurs, 27 Dec 1919
20 Deux mlodies (R. Chalupt): Le bachelier de Salamanque, Sarabande, 1v,
pf/orch, 1919; pf version as op.19; orch version, Croiza, Paris SO, cond. L.
Fourestier, Paris, 9 Dec 1928
25 Madrigal aux muses (G. Bernard), SSA, 1923; Groupe Nivard, Paris, Salle
Pleyel, 6 Feb 1924
26 Deux pomes de Ronsard: Rossignol, mon mignon, Ciel, aer et vens, 1v, fl,
1924; no.1, N. Vallin, R. Le Roy, Paris, Vieux-Colombier, 15 May 1924, no.2,
Croiza, R. Le Roy, Paris, 28 May 1924
31 Odes anacrontiques (trans. de Lisle): Ode XVI: Sur lui-mme, Ode XIX: Quil
faut boire, Ode XX: Sur une jeune fille, 1v, pf, 1926; no.3, Bathori, 17 May
1926; complete, E. Warnery, 30 May 1927; no.1 orchd, n.d.
32 Odes anacrontiques (trans. de Lisle): Ode XXVI: Sur lui-mme, Ode XXXIV:
Sur une jeune fille, Ode XLIV: Sur un songe, 1v, pf, 1926; no.3, Bathori, 17 May
1926; complete, E. Warnery, 30 May 1927; nos.1, 2 orchd, n.d.
Le bardit des francs (Chateaubriand), male chorus 4vv, brass and perc ad lib,
1926; Chorale Strasbourgeoise, cond. C. Mnch, Strasbourg, 21 April 1928
35 Deux pomes chinois (H.P. Roch, after Giles): Des fleurs font une broderie,
Rponse dune pouse sage, 1v, pf, 1927; no.1, Bernac, Fontainebleau, 5 July
1928; no.2, M. Gerar, Paris, 23 May 1927; no.2 orchd, c1927; Croiza, Paris SO,
cond. Fourestier, Paris, 9 Dec 1928
Vocalise no.1, 1v, pf, 1927; J. Darnay, Roussel, 20 Dec 1928
Vocalise no.2, 1v, pf, 1928; R. de Lormoy, P. Maire, Paris, 13 April 1929; orchd
A. Hore, c1930; arr. A. Hore as Aria, fl/ob/cl/va/vc, pf/orch, n.d.
37 Psalm lxxx, T, chorus, orch, 1928; Jouatte, Nantes Schola Chorus, Lamoureux
Orch, cond. Wolff, Paris, Opra, 25 April 1929
O bon vin, o as-tu cr? (Champagne trad.), 1v, pf, 1928; Lormoy, P. Maire, 13
April 1929
38 Jazz dans la nuit (R. Dommange), 1v, pf, 1928; Croiza, Roussel, Paris, Salle
Gaveau, 18 April 1929
44 Deux idylles: Le krioklpte (Theocritus, trans. de Lisle), Pan aimait Ekho


47
50
55

(Moskhos, trans. de Lisle), 1v, pf, 1931; Lormoy, Hore, Paris, Salle de
l'Ancien Conservatoire, 5 March 1932
A Flower Given to my Daughter (Joyce), 1v, pf, 1931; D. Moulton, London, 16
March 1932
Deux pomes chinois (H.P. Roch, after Giles): Favorite abandonne, Vois, de
belles filles, 1v, pf, 1932; Bourdette-Vial, Y. Gouvern, Paris, 4 May 1934
Deux mlodies (Chalupt): Coeur en pril, Lheure de retour, 1v, pf, 19334;
no.1, M. Bunlet, Jan 1935; no.2, Bunlet, Dec 1934
Deux mlodies (G. Ville): Vieilles cartes, vieilles mains, Si quelquefois tu
pleures , 1v, pf, 1935; Blanc-Audra, D. Dixmier, Paris, 24 Jan 1936

piano

14

16

46
49

Badinage, c1897, destroyed

Fugue, c1898
Des heures passent: Graves,
lgres , Joyeuses ,
Tragiques , Champtres ,
1898
Conte la poupe, 1904
Rustiques: Danse au bord de
leau, Promenade sentimentale
en fort, Retour de fte, 1904
6; B. Selva, Paris, Salle Pleyel,
17 Feb 1906
Suite, f : Prlude, Sicilienne,
Bourre, Ronde, 190910;
Selva, Paris, Salle Pleyel, 28
Jan 1911
Sonatine, 1912; Dron, Paris,
Salle Erard, 18 Jan 1913
Petit canon perpetuel, 1913
Doute, 1919; Mme Grovlez,
Paris, 15 May 1920
Laccueil
des
muses
[in
memoriam Debussy], 1920; E.
Lvy,
Paris,
Salle
des
Agriculteurs, 24 Jan 1921
Prelude and Fugue, 19324; H.
Gil-Marchez,
Paris,
Salle
Chopin, 23 Feb 1935
Three
Pieces,
1933;
R.
Casadesus,
Paris,
Ecole
Normale, 14 April 1934

Principal publishers: Durand, Rouart-Lerolle/Salabert, Heugel

Roussel, Albert
BIBLIOGRAPHY
L. Vuillemin: Albert Roussel et son oeuvre (Paris, 1924)

Courrier musical & Thtral, xxxi/8 (1929) [Roussel issue]

ReM x/6 (19289) [Roussel issue]
ReM, no.178 (1937) [Roussel issue]
A. Hore: Albert Roussel (Paris, 1938)
Catalogue de l'oeuvre d'Albert Roussel (Paris, 1947)
N. Demuth: Albert Roussel (London, 1947/R)
R. Bernard: Albert Roussel (Paris, 1948)
W. Mellers: Studies in Contemporary Music (London, 1947/R)
M. Pincherle: Albert Roussel (Geneva, 1957)
B. Deane: Albert Roussel (London, 1961/R)
J.M. Eddins: The Symphonic Music of Albert Roussel (diss.,
Florida State U., 1967)
A. Surchamp: Albert Roussel (Paris, 1967)
Zodiaque, no.80 (1969) [Roussel issue]
R. Crichton: Roussel's Stage Works, MT, cx (1969), 72933
F. Lesure: Albert Roussel, 18691937, Bibliothque Nationale, 23
Sept 15 Oct 1969 (Paris, 1969) [exhibition catalogue]
E.D.R. Neill: Albert Roussel, Musicalia, i/1 (1970), 510 [with
work-list and discography]
L. Davies: Paths to Modern Music (London and New York, 1971),
18494
R. Myers: Modern French Music (Oxford, 1971/R)
Cahiers Albert Roussel (19789) [pubd by Amis belges d'Albert
Roussel, Brussels]
R.J. del Bont: Songs of India, OQ, ii/1 (1984), 514
N. Labelle, ed.: Tmoignage indit sur Albert Roussel par Charles
Koechlin, Revue internationale de musique franaise, no.14
(1984), 7988
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