Louis Diémer
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2 Pieces for Oboe and Piano, Op.3520 Mélodies3 Nouvelles mélodiesA
Angoisse!C
Caprice, Op.17Chanson de mai, Op.19Chant du Nautonier, Op.12E
Elle n'est plus!EsméraldaF
FantaisieG
Grande valse de concert, Op.37I
Impromptu-caprice, Op.13Impromptu-valse, Op.9K
Konzertstück, Op.31L
Légende, Op.52Les adieux à SuzonLes ailesLes trois oiseauxM
Mazurka chantéeMenuetMinuettoO
OrientaleOrientale No.7P
Pensées musicales, Op.11Piano Trio No.1, Op.20Piano Trio No.2, Op.23Pourquoi?R
Romance for Cello, Op.34Rose d'amourS
SérénadeV
Valse de salon No.2, Op.14Valse de salon No.3, Op.18Violin Sonata, Op.20aÀ
À celle qui va partirÀ une étoileWikipediaLouis Joseph Diémer (14 February 1843 – 21 December 1919) was a French pianist and composer. He was the founder of the Société des Instruments Anciens in the 1890s, and also gave recitals on the harpsichord. His output as a composer was extensive, including a piano concerto and a quantity of salon pieces.
Diémer was born and died in Paris. He studied at the Paris Conservatoire, where his teachers included
Ambroise Thomas for composition,
Antoine Marmontel for piano, and
François Benoist for organ. From the age of twelve, he won several first prizes (Premiers Prix) at the Conservatoire, in piano, harmony and accompaniment, counterpoint and fugue, and solfège, and a second prix in organ.
He quickly built a reputation as a virtuoso and toured with, among others, the violinists Delphin Alard amd
Pablo de Sarasate.
In 1888, Diémer succeeded Marmontel as professor of piano at the Paris Conservatory. He taught, among others,
Robert Casadesus,
Alfredo Casella, Marcel Ciampi,
Alfred Cortot, José Cubiles,
Lazare Lévy, Robert Lortat, Yves Nat, and Édouard Risler. He was also instrumental in promoting the use of historical instruments, giving a series of harpsichord performances as part of the 1889 Universal Exhibition and contributing to the founding of the Société des Instruments Anciens.
Diémer was also among the earliest pianists to record for the gramophone. His recordings are said to show the best aspects of the 19th-century French piano school: clarity, point, and control in rapid, detaché passages and limpid pianissimo scales. They clearly attest to Diémer's title in the French press as "the king of the scale and the trill. They also give evidence to comments made by his pupil
Lazare Lévy, who himself would become an influence on the French musical scene. Lévy wrote: "The astonishing precision of [Diémer's] playing, his legendary trills, the sobriety of his style, made him the excellent pianist we all admired".