Belgian Art Song Database

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The composer most intimately linked to the Flemish National School of the 19th century is Peter Benoit (1834-1901). As the New Grove article on him writes: "he consciously placed his art at the service of the Flemish people." This section will try to give the reader a broad overview on why the Flemish National Movement arose,  who  its principle actors were, where they worked, and what they created. There will be a place to talk about history, literature, and music. Other important composers mentioned below are Hendrick Waelput (1845-1885), Gustave Huberti (1843-1910), Jan Blockx (1851-1912) and Edgard Tinel (1854-1912), all very important in regard to vocal music.

The Flemish Movement and Flemish Literature

It is important to remember that in Belgium's early years the Dutch language was considered the language of the "common people." The French language reigned in all domains: education, state affairs, business, and at court. Even wealthy Flemish citizens mostly preferred to use the "noble" French language over the "low" Dutch language. Belgium was not the only state during the 19th century to use French as its "state language." The same was true in Russia for example. The notary and writer Jan Frans Willems (1793-1846) was one of the pioneers to promote the Dutch language in Flanders. He is often referred to as "the father of the Flemish movement." During the Dutch occupation and the Belgian revolution in 1830 he did his best to prevent a separation and fell out of favor with the new Belgian government. In 1835 he settled in Ghent and actively promoted classical Dutch  literature. He soon met a group of like-minded writers like Philip Blommaert and Karel Lodewijk Ledeganck. After Willems death in 1851, his name became associated with a cultural organization, the Willemsfond, that promoted Flemish culture and language. Among many activities, they encouraged the promotion of Flemish folk songs. Another rival fond branched off the liberal Willemsfond in 1874, the Roman-Catholic Davidsfond. The Davidsfond was named after the historian Jean-Baptiste David, author of a detailed history of Flanders (1842–1866), and also aimed at promoting Flemish culture and language. Another younger writer was at the forefront of the Flemish movement in the early years of Belgium history. Henrik Conscience (1812-1883) published his third novel in Dutch in 1838, De Leeuw van Vlaanderen (The lion of Flanders). This historic novel tells the story of a Flemish hero winning the battle of the Golden Spurs in 1303 against the French troops. It  is one of his mater pieces and remains extremely influential even though many historical facts concerning the history were proven inaccurate. Conscience's novel inspired the Flemish nationalists anthem De Vlaamse Leeuw, composed in 1847 by Karel Miry and even today the memory of the battle is kept alive every year with a celebration.The Dutch language had to wait until the 1870s to officially recognized in law and administration. Education in Dutch started in the 1880s and a Flemish Academy of Literature was established in Ghent in 1886.

The second part of the 19th century was a period of raising nationalism in Europe in general and the Flemish writers and musicians followed the movement. "De taal is gansch het volk" (the tongue is wholly the people) was a common motto used by Flemish intellectuals to stimulate the consciousness of the Flemish people about their own identity. Next to literature, music was a very important mean used to propagate the Flemish national feeling. Vocal music composed on Dutch language became very popular among Flemish composers. Choral cantatas and big masses using a chorus, soloists and an orchestra were performed regularly at public gatherings. Songs in general, and folk songs in particular, had a special role in reaching and educating Flemish people at school and in their homes. Similarly to what happened in France and Germany, middle class women learned to play the piano and often sang songs to their guests at social gatherings. Salons were a common place for bourgeois people to meet and play music. We will thus find a panoply of easy, strophic, folk like Dutch songs that were composed between 1860 and 1980 for home use. They were published in journals of the time.

Important literary figures of the Flemish National Movement worth mentioning here are:

Jan Frans Willems (1793-1846), Prudens van Duyse 1804-1859), Karel Lodewijk Ledeganck (1805-1847), Frans Rens (1805-1874), Philip Blommaert (1809-1871), Ferdinand Augustijn Snellaert (1809-1872), Jan Theodoor van Rijswijck (1811-1849), Henri Conscience (1812-1883), Pieter Frans van Kerckhoven (1818-1857), Jan Van Beers (1821-1888), and Emmanuel Hiel (1834-1899).

Peter Benoit (Harelbeke 1834 - Antwerp 1901)

Peter Benoit  consciously placed his art at the service of the Flemish people. He turned his back on Paris to raise Flemish musical life. It is often said that Liszt called him the "the Rubens of Music." Benoit entered the Royal Conservatory in Brussels in 1851 and took classes in piano, harmony, counterpoint, and composition. His main teacher was François-Joseph Fétis. After winning the Belgian Prix de Rome with his cantata "La Mort d'Abel" (French poem by Clemens Wystman) in 1857 he departed for Germany, where he visited Leipzig, Dresden, Berlin, Prague and Munich. He moved to Paris in 1862 and became conductor of the Théâtre des Bouffes-Parisiens. One year later though, he returned to Belgium and in 1863 settled in Antwerp, where he founded the Flemish Music School, which later became the Royal Flemish Conservatory (1898). Antwerp became the center of the Flemish national movement in music and Benoit was its main figure. He can also be credited to have created a Flemish lyric theater that developed into the Vlaamsche Opera of today. Peter Benoit was chiefly a vocal composer. He composed numerous art songs and especially his oratorios and cantatas are of great value. Most of this choral works were conceived on a grand scale and resembled almost community singing events. To engage the community in the performance of Flemish grand scale works had undoubtedly the purpose of instilling a sense of national identity in the participants and listeners. He tried to compose great music for the people. Some of his best oratorios are: Lucifer (1865); De schelde (1868); De oorlog (1873) and De Rhijn (1889) while his most popular cantata is the Rubenscantate (1877). The New Grove article classifies his work into nineteenth-century Romanticism, with influences coming from Beethoven, Mendelssohn, Liszt, Berlioz, Meyerbeer, and, later in his life, Wagner. He constantly searched for Flemish national traits by collecting folk music and composed numerous French and Flemish songs. Among the best of Benoit's Flemish lieder are the cycles "Liefde in het Leven" (Love in Life) and 'Liefdedrama' (Love?s Drama) on poems by Emmanuel Hiel (1834-1899).

Art Songs (Non-Exhaustive List):

Wij reizen om te leren: reislied (de Geyter) published in Antwerp: Metropolis, 1853
Guirlande lyrique: 6 mélodies (Michaëls) published in Brussels, Schott, 1854
  1. Les Voix de la nuit
  2. Le chant du rossignol: mélodie
  3. La fée du urgèle: mélodie
  4. Chanson de forgerons: mélodie
  5. Le castel d' Arundel: ballade
  6. Les cloches du village: rondo pour Mezzo soprano
Douze pensées naïve: album de jeunesse published in Brussels , Schott, 1855
  1. L' aubépine
  2. L'adieu d'un oiseau
  3. L'aurore
  4. La langue d'un oiseau
  5. La rosée
  6. une matinée de mai
  7. Ma bruyère
  8. Comme une larme
  9. Le coucher du soleil
  10. L'oiseau sous l'ombrage
  11. Le papillon
  12. Les derniers bruits du soir
Published in "La mélodie: suite de romance nouvelle" Brussels, 1858-1859-1860
  1. Le nuage: romance (Victor Hanssens)
  2. Le sylphe: romance (Hermance Wantzel)
  3. Laura: mélodie (Hermance Wantzel)
  4. Petits bouquets (Pierre Laval)
  5. Revenez, petits oiseaux (Pierre Laval)
  6. La trace de test pas (Hermance Wantzel)
  7. Ici je veux rêver (Hermance Wantzel)
Gaat de mensch (A. Verriest) published in Antwep: Peter Benoit-fonds, 1867
3 Mélodies, op. 10 (E. Breton)
  1. Mon amour: cantilène
  2. A toi
  3. Ecoute-moi: aubade
3 Liedekens, op.39 (Emmanuel Hiel); published by Brussel: Gebroeders Schott, ca. 1865
  1. Wannes en Trientjen
  2. Zy lachten
  3. Pachter Jan
Denderliedeken (J. Diels), 1869 re-published in Berchem by De Ring, 1928 (6th edition)
Twee kerelen (E. Hiel), 1869-1871? published in Gwent: Roels, 1912 (9th edition)
Aan Haar (Hiel), 1871
De Liefde in het Leven (Emanuel Hiel) from Henriette's Album (1869-1872)

  1. Mijn Hart is vol Verlangen
  2. Mijn hart is zoo bewogen
  3. Vonkelt er een Straal der Zonne
  4. Heeft het Roosje milde Geuren
  5. O, kom mijn Liefste
  6. Toen ging ik in den Hof met Haar (De Wandeling)
  7. Zij is uit Aarde niet geschapen 
  8. De zoete Lente
  9. Ik droomde!
  10. Ach! toen ik door het Weenen (Troost)
  11. Zuivere Liefde van de Vrouw
  12. Droom van Lust en Lijden
  13. O, gij voor wie de Driften Zwijgen (De Moeder)
  14. De Leeuw in de Woestijne brult
  15. Gebroken Hart verlangt de Rust
Liefdedrama: 5 liederen naar Shakespeare (Emanuel Hiel) and Naspel: Aan Zee-Fatum: Wat de Vrouwin 't Mannehart vernielt (Eugeen van Oye), 1872 The "5 liederen naar Shakespeare" (Emanuel Hiel) were republished 2006
Langs waar komt het Lustbegin? / The Merchant of Venice: tell me where is fancy bred
Cymbeline: Hoor! de Leeuwerk zingt / Cymbeline: Hark! hark the lark at heaven's gate sings
Trekt de Lippen vol Venijn / Measure for measure: Take, o take those lips away
Kom alhier, Dood! / Twelfth night; or what you will: Come away, come away, death
O Meisjes, zucht niet/ Much ado about nothing: Sigh no more, ladies
Naspel: Aan Zee - Postlude
Gij zijt mijne reine Kersouwe
De joelende Orkanen
Interludio: Psychologishce overgang
De Droefheid kwam
Ik heb niets meer van U
Aan Vlaandren, 1874
't Leven is liefde (J. Alfried), 1874
Ik Kende Nooit geen liefdelach (Adolf Verriest), published Peter Benoit Fonds Antwerpen, 1875 
Heilgroet (Hiel), 1888
Zilveren bruiloft (Julius Sabbe) published by allgemeen depot juffr. A. Mertens  (Nationale Muziekdrukkerij, Brussel), 1888
De Zoon der Denderstaad (Theo van de Voorde), 1888 re-published in Berchem: De Ring, 1930
Myn môedersprak (Klaus Groth) published Antwerpen: Peter Benoit-fonds, 1889
Goedheil! (Hansen, C.J.), 1893
Het lied der Iseghemsche schoenmakersgilde (Emiel Neyrinck), 1895
De dageraad (Diels, J) published in Brussels: Vander Ghinster, 1895?
Een Lenteriddertje (Julius Sabbe), 1896
Aan Blance (Huwelijkslied) (Julius Sabbe) 1898, re-published in Berchem: De Ring, 1934
Vijf soldatenliederen (Hiel) published in Antwerp: Thibaut, 1898
  1. Jagerlust
  2. Naar het camp
  3. Een braaf soldaat
  4. De grenadier
Het Lied der Heidebloem (von Emanuel Hiel) re-published in ?De Ring? edition Berchem, 1934
Onze vlag (H. Melis) re-published in Berchem: De Ring, 1929
Strijdkreet (De Genius des Vaderlands) (Julius de Geyter) re-published in Antwerp: Metropolis, 1951
In Transvaal (Julius de Geyter) published by H. Possoz, Uitgever, Eiermarkt, 20 Antwerpen
An den nachtegaal (A. Cornette)
Le retour du printemps (J. Mellery) published in Paris: Schott
Les zouaves de la mort: chant polonais (Theolier Philippe) published in Paris: Chatot
Aan Polidoor (De Keyzer)
De tolbeambte (J. Diel) published in Brussels: Vander Ghinste
Het turnerslied (J. van Beers)
Blonde fille: aubade published in Paris, Schott
Het koninginnelied (de Geyter)
Het lied der Vlamingen (E. Hiel) re-published in Antwerp by Metropolis 
Vaderland (E. Hiel)
Vrij ende blij: (velolied) 
Wie! (Elisa Mather)
Waarom? Daarom?
O kom mijn liefste (E. Hiel)
Ode aan de Vlaamsche kunst (E. Hiel)
Bemind wordt diep den Koning
Er zijn op aarde (J. De Geyter) published in Antwerpen: Mertens
L'étoile du soir (Michaëls) published in Brussels: Katto
Heilzang aan Hendrik Conscience (H. Conscience)


In Flander's Fields Vol. 26. Peter Benoit (1834-1901) Werner van Mechelen, bass-baritone and Jozef de Beenhouwer, piano, Phaedra recording, 2001
  • De Liefde in het Leven (Emanuel Hiel)
  • Uit Henriette's Album (piano)
  • Liefdedrama (5 songs after Shakespeare -Emanuel Hiel- and postlude: At the Seaside -Eugeen van Oye)
Online recording of "Mijn  moederspraak" by Edward de Decker (bass-baritone) and Sebastian Peschko (piano) Polydor recording:
Gustave Huberti (Brussels 1843 - Brussels 1910)

Even though Gustave Huberti had francophone roots he is associated with the Flemish movement and was a follower of Peter Benoit. He studied at the Conservatory in Brussels with François-Joseph Fétis and graduated at the age of 15. In 1865 he won the Belgian Prix de Rome with the cantata La fille de jephté and traveled to Italy and Germany. He was an early Wagner enthusiast and performed several of his songs at Wagner's house in 1889 with his friend and colleague the baritone Emiel Blauwaert (1845-1891). The collaboration with Blauwaert would produce many beautiful songs in French, German, and Dutch. Emanuel Hiel being one of his favorite authors. In 1874 Huberti was appointed director of the music academy at Mons, later employments held by Huberti were inspector of music in the Antwerp municipality, teacher of harmony at the Brussels Conservatory, music critic for periodicals, and finally director of the Music School of Sint-Joost-ten-Node. Next of being an excellent song writer, Huberti composed oratorios and big choral works in the style of Benoit as well as symphonic and piano works.

Art Songs (Non-Exhaustive List):

17 Mélodies pour chant avec accompagnement de piano published in Bruxelles: Schott Frères
  1. Sérénade (E. Hiel)
  2. Hier au soir (Hugo)
  3. Pas de serments (Heine)
  4. Chanson de mai
  5. Un vanneur de bles au vent (J. du Bellay)
  6. Rosette (Ph. Desportes)
  7. Le renouveau (Charles d'Orléans)
  8. Sonnet (Ronsard)
  9. Nos 9-16: 8 Wanderlieder (Uehland)
  10. Lebewohl/Adieu
  11. Scheiden und Meiden / Séparation
  12. In der Ferne / Au loin
  13. Morgenlied / Chant du matin
  14. Nachtreise / Pendant la nuit
  15. Winterreise / En hiver
  16. Einkehr / A l'hôtel
  17. Retour
  18. Mailied
Deux mélodies avec accompagnement d'orchestre published in Bruxelles: Schott Frères
  1. Mailied
  2. Sonnet
Gij mint mij niet (H. Heine Dutch by E. Hiel) published in Gent: J. Vuylsteke, 1887 
Hier au soir (Victor Hugo, Dutch by E. Hiel, German by H. L. Flemmich) published in Bruxelles: Schott Frères, ?
La chanson de Mignon (Goethe; Dutch by E. Hiel) published in Mons; Valenciennes: F. Hendrickx-Roos, S.d. 
De stervende moeder/La mort d'une mère: Cycle de mélodies pour chant et orchestre - reduction for piano, (Emanuel Hiel; French M. Kufferat) Bruxelles: Imprimerie nationale de musique, 1920?
  1. De Stervende moeder
  2. O moeder
  3. Slapen gaan
  4. Op staan
Mignonne (Ronsard) published in Bruxelles: La libre critique, S.d.
Six mélodies pour chant et piano; Op. 33 published in Bruxelles: Chez l'auteur, S.d
  1. Berceuse (Hoffmann von Fallersleben, August Heinrich)
  2. Lied (T. Gauthier)
  3. Le monde est méchant (T. Gauthier)
  4. A la dérive (Jean Richepin)
  5. Mal ensevelie (Sully Prudhomme)
  6. Brume de midi (Jean Richepin)
Six romances & deux morceaux 
  1. Paroles du c'ur (Adolphe Siret)
  2. La pastorella dell'Alpi (Pepoli)
  3. La captive: mélodie (Hugo)
  4. Le papillon: mélodie
  5. La grand-mère: ballade (Hugo)
  6. Le souvenir (Hyppolite Rondel)
Hendrick Waelput (Ghent 1845 - Ghent 1885)

Hendrick Waelput was born in Ghent. His musical output is considerable but, unfortunately, remains for the most part unpublished. He was especially known in his time as a conductor and as a symphony composer. Before Waelput reached the age of 20 some of his songs were already published and the new grove article on the artist mentions that he composed over 40 songs in Flemish and French. He first studied music with Karel Miry and later enrolled at the royal Conservatory in Brussels in 1864. There his main teachers were François-Joseph Fétis and  Karel-Lodewijk Hanssen. He earned the Prix de Rome three years later by setting a Dutch text by Emmanuel Hiel De Wind. This was the very first year a Dutch text was accepted for the competition. Waelput was at ease in French and Dutch. By choosing to set the Dutch text for his composition, he sided with the Flemish camp of the Benoit followers. Most of his following texts choices would also be Dutch poems. Between 1869 and 1871 Waelput was appointed director of the music school in Bruges. From 1871 until 1875 he worked as a freelance conductor at different European theaters (The Hague, Dijon, Boulogne-sur-Mer, Douai, Lille, ...). Waelput also conducted at theaters in Belgium: Ghent, Liege, Brussels, and Antwerp. In 1879, Benoit employed him at the Flemish Music School as teacher of harmony, counterpoint, and fugue. Hendrick Waelput's compositions encompass 5 symphonies, some cantatas (among the best: De Zegen der Wapens by Eugeen van Oye in 1872 and De Pacificatie van Gent by Emmanuel Hiel in 1876), three operas, chamber music, and songs.

Art Songs (Non-Exhaustive List):

Zes gedichten (Eug. Van Oye) published in Antwerpen: H. Possoz, first edition 1870 or 1879 and second edition in 1891  
  1. Stabat Mater
  2. 'k Heb gedroomd...
  3. Jeugd en liefde
  4. De zonne blonk
  5. Bloemen bloeien
  6. In de duinen
Zes gedichten von Eugeen van Oye published by Brugge, E. Gailliard, 1872; second edition by Brugge: Gaillard and Brugge: Van Marcke in 1880
  1. Onttoovering
  2. Afscheid
  3. Op het strand
  4. De zee ruischt
  5. Fantazij
  6. Aan U
De droefheid kwam (Eugeen Van Oye) published in Gent: W. Rogghé, 1876 (in one of the publications sponsored by the Willems-fonds)
Verre! (Th. Coopman) published in Gent: W. Rogghé, 1876 (in one of the publications sponsored by the Willems-fonds)
De weide slaapt (Eugeen Van Oye) published in Gent: W. Rogghé, 1887 (in one of the publications sponsored by the Willems-fonds)
De groote maaiers (K. Versnaeijen) published in Gent: W. Rogghé, 1912 (in one of the publications sponsored by the Willems-fonds)
'S Avonds: lied (R. Versnayen) re-published in Berchem: De Ring, 1923
Twee gedichten (Eug. Van Oye) publishe: Antwerpen: H. Possoz
Jan Blockx (Antwerp 1851 - Antwerp 1912)

A pupil of Benoit, Jan Blockx, is associated with the Flemish movement. In his days he was strongly criticized by the Benoit followers for his association with the French editor Heugel and for not complying strictly enough to the masters views on the use of the Dutch language. Blockx?s main success resides in his romantic operas that show Wagner's influence. He is credited for composing the first Flemish opera given in Antwerp in 1896, ?Herbergprinses" (Dutch text by Nestor de Tière). The opera was given at the Manhatten opera house in New York during the season 1908-1909 with a French translation by Gustave Lagye. Blockx's songs and his work on Flemish folk songs show his teachers influence. Blockx studied piano, organ, and composition at the Flemish Music School in Antwerp before leaving for Germany, Leipzig, in 1879, where he studied with Carl Reinecke and met Edvard Grieg. From Germany he traveled to Italy. Back in Antwerp he was appointed lecturer in harmony at the Flemish Music School in 1885. Some of his often sited students were Lodewijk Mortelmans and Flor Alpaerts. At Benoit's death, 1901, he took over the direction of the Antwerp Conservatory. This was heavily criticized by Benoit's close followers, who found him to international.

Art Songs (Non-Exhaustive List):

Hout u fier (J. van Droognbroeck) published in Gent-W. Roggghe, 1876
Drie volksliederen published in Antwerpen: H. Possoz, 1876
  1. Ons vaderland (Th. Sevens)
  2. Visschersliedken (J.M. Dautzenberg)
  3. Makkerslied (Emanuel Hiel)
De lente (Bultynck, A.V). Gent, 1877
Liederalbum, op. 25: published in Leipzig 1880 and in Antwerpen: Hendrik Possoz, 1882
  1. Ik ging: kinderlied
  2. Avontgroet (J. M. Dautzenberg)
  3. Ballade: uit het zangblijspel "Iets vergeten!"
  4. Moederlied (Antheunis, G.)
  5. In 't prieeltje (Cosyn, A.J.) with violin
Les morts Auteur (van Keymeulen, Louis) composed in 1882 of 1883
Drie liederen published by Bruxelles: Schott, 1900
  1. De spinster (Tollens)
Onder de Linde  (g. Antheunis) published in Nederlandsche Zangstukken, Gent J. Vuylsteke, 1901
Sinjorenlied (Pol de Mont) Antwerpen : Boucherij, 1901
Kom, eerst je handen (Pol de Mont). - Gent, 1903
Spinlied (Julius de Meester) published in Gent, 1904
Morgenzang (Soera Rana) Gent, 1908
Negen kinderliederen, op.50 published in Bruxelles: Vanderauwera, 1910
  1. Bevat
  2. De liefde tot het vaderland
  3. Lied van den boer
  4. De touter
  5. Wieg en muit
  6. Zomergetij
  7. Lied van den wind
  8. Arbeid
  9. Het katje
  10. De muis
Liedje (C.S.Adam van Scheltema) Gent, [c.1913]
Harpzang (Joost van den Vondel) published in Gent: Struyf, 1920
Avondvrede  re-published by Breyne, M.R. in Berchem, 1923
Serenade de Milenka (Baryton/or tenor) (Gustave Lagye) re-published by Heugel & Cie, 192
Het lied (V. A. de la Montagne)
Als de winter voorbij is
Scheldelied  (van Ryswyck, Theodoor)
Bede (Lied vor Sopraan of Tenor- Van Scheltema)
Edgard Tinel (Sinaai-Waas 1854 - Brussels 1912)

Tinel studied under Gevaert and is often described as having had a mystical and lyrical temperament. The New Grove Dictionary article on Tinel, written by Henri Vanhulst, mentions that Tinel?s art songs recall Schumann, Mendelssohn and Brahms, and that his songs to melancholic texts have a most moving sincerity expressed through unexpected modulations. Much to the contrary of Waelput, Tinel's compositions were published regularly by Breitkopf & Härtel at Leipzig, and they were distributed all over the world. He was a highly regarded vocal composer. Tinel was admitted to the Brussels Conservatoire in 1863 and started his career as a pianist virtuoso. His first vocal compositions using lyrics in Dutch, French, and German were published in 1874. In 1877 he won the Prix de Rome with his cantata Klokke Roeland, op.17 (Julius Sabbe). Tinel was heralded as Peter Benoit's successor in the Flemish cause and was involved with the Davidsfonds. His vocal music is mainly on dutch texts but he is said to have spoken French at home. Tine was appointed in 1881 as director of the School for Sacred Music in Mechelen and studied religious and Gregorian music. His most successful work is his oratorio Franciscus (1888). He became professor of counterpoint and fugue at the Brussels Conservatory in 1896 and its director in 1908. Tinel's song compositions span over his entire career. Collections worth mentioning are Loverkens, vier oud-vlaamse duinliederen and Schilflieder (German tex by Lenau) all composed in 1875. The songs Gradgezangen were composed in 1879.

Art Songs (Non-Exhaustive List):

12 Lieder Edgad Tinel (English by C.H.Laubach) published by Schott Frères, Bruxelles, Otto Junne, Leipzig, Schott & C. London, 1876 Published in 2 parts I contains 6 songs and 2 contains 6 songs
  1. Im Herbst (Deutscher Text von Elizabeth Alberdingk Thym nach Emma Tinel)
  2. ?Du Schoene Rose? (Deutscher Text von Elizabeth Alberdingk Thym nach Emma Tinel)
  3. ?Manche kleine Liebeslieder? (Mirza Schaffy)
  4. ?Wie dem Vogel sein Gefieder? (Mirza Schaffy)
  5. Veilchen (Hoffmann von Fallersleben)
  6. ?Auf geheimem Waldespfade? (Nicolaus Lenau)
  7. Winternacht (Nicolaus Lenau)
  8. ?Wie lieblich ist der Sommer? (Hoffmann von Fallersleben)
  9. ?Wie praechtig wolbt die Linde? (Hoffmann von Fallersleben)
  10. ?O Freudenzeit? (Hoffmann von Fallersleben)
  11. ?Da steht ein Bluemlein? (Hoffmann von Fallersleben)
  12. ?Die Turteltaube hoer ich klagen? (Hoffmann von Fallersleben)
Quatre nocturnes pour chant: avec accompagnement de piano: op. 1 (Weddingen, Aloïs) published in Brussels, 1877
  1. Qu'ils sont tristes, ces jours d'automne
  2. Voici bien la funèbre enceinte
  3. Oiseau charmant
  4. Du jour meurent les bruits
Drei Lieder für eine Singstimme mit Klavier; op. 4 published in Brussels: Schott, 1877 
  1. Het lied van?t maagdelijn (van Ledeganck)
  2. Visschersliedeken (van Dautzenberg)
  3. Lamento (van Wezelmael)
Quatre mélodies pour chant avec accompagnement de piano; op. 5 (Emma Coeckelbergh) published in Bruxelles: Schott frères, 1900
  1. L?automne
  2. Charmante rose
  3. Bel enfant, souris-moi
  4. L?oracle en défaut
Deux mélodies pour chant avec accompagnement de piano; op. 6 (Emma Coeckelbergh)
  1. L'angélus
  2. Pourquoi? 
Sieben Lieder und Gesaenge (Dutch by E. Hiel); op. 8 published in Bruxelles: Gebroeders Schott, 1877 
  1. Manche kleine Liebeslieder (Mirza Schaffy)
  2. Wie dem Vogel sein Gefieder (Mirza Schaffy)
  3. Veilchen (Hoffmann von Fallersleben)
  4. Frühlingsfeier (Uhland)
  5. Ich hör ein Vöglein (Ad. Böttger)
  6. Beharre (Helm von Ghezy)
  7. Die Schreinergesellen (Freiligrath)
Schilflieder; op.10 (Nicolaus Lenau translation into Dutch Emmanuel Hiel) published in Brüssel: Gebrüder Schott, 1877
  1. Drüben geht die Sonnen scheiden - Trübe wird's
  2. Auf geheimen Waldespfade
  3. Sonnenuntergang
  4. Auf dem Teich
Fünf Gesänge aus Lenau's "Lieder der Sehnsucht;" op. 11 (Dutch E. Hiel) für eine Singstimme mit Klavierbegleitung published in Brussels, 1877
  1. Nach Süden
  2. Bitte
  3. Das Mondlicht
  4. Winternacht
  5. Stumme Liebe
Loverkens: een cyclus van 14 Oud-Vlaamsche minneliederen; op.12 (Hoffmann von Fallersleben) published in Brussel: Gebroeders Schott, 1877
  1. Inleiding (piano)
  2. Toewijding
  3. Ghele bloemkens spruiten aen der heiden
  4. Stil ende vredsaem ist ghehucht
  5. Hoe schone staet die linde
  6. O soeten tijt!
  7. Dat ic u moet begheven
  8. Been over been gheslaghen
  9. Daer staet een bloemken
  10. Als alle loverkens risen
  11. Die son is nu verdwenen
  12. Die tortelduve horic claghen
  13. Ic stont op caluwen dunen
  14. Hoe is den winter so cout, so lanc!
  15. Tusschenspel (piano)
  16. Heden en immer
Vier oud-Vlaamsche drinkliederen: voor ééne zingstem met klavierbegeleiding: opus 13 / Tinel, Edgar. - Brussel, s.a.  (von fallersleben)
  1. Drinc, sprac den herfst
  2. Het reghende seer
  3. Tis noch niet laet
  4. Neen, noch hebbic ghene not
Drie Lieder für eine Singstimme mit Klavier; op. 16 published in Leipzig, Brüssel: Breitkopf and Haertel.
  1. Gondellied (H. Claeys)
  2. Trahit sua... (H. Claeys)
  3. Thränen (A. Von Chamisso)
Grabgezangen: Een Cyklus von zeven Liederen voor eene Stem en klavier; op. 22  (Pol de Mont) published in Leipzig, Brüssel: Breitkopf and Haertel, 1889
  1. Grafbloeme
  2. Raven
  3. Avond
  4. Begrafenis
  5. Schoonslapsterken
  6. Dooden
  7. Verloving
Wehmuth: zwei Gesänge für eine Stimme und Klavier; op.28 published in Leipzig; Brüssel: Breitkopf & Härtel, 1889
  1. La vase brisé  - Gebrochenes Blumengras (poesie Sully-Prudhomme) 
  2. Réponse - Antwort (van Weddingen)
Sechs Lieder/Zes liederen; op.38 published in Leipzig: Breitkopf & Härtel, 1892
  1. Schwester Godoleva (translation von Elizabeth Alberdingk Thym)  - Zuster Godolieve (Albrecht Rodenbach)
  2. ?Und duestre Wolken? (translation von Elizabeth Alberdingk Thym) - ?En zware wolken?(Emanuel Hiel) 
  3. Aufschwung (translation von Elizabeth Alberdingk Thym) - Verheffing uit het dichtstuk ?Gebet? van G.T.Antheunis
  4. ?Du bist wie eine Blume? (Heinrich heine) - ?Gij zijt gelijk een bloeme? (translation G.T.Antheunis
  5. ?Am Kreuzweg wird begraben? (Heinrich Heine) - ?Ten kruisweg wordt begraven? G.T.Antheunis
  6. ?Dein angesicht, so lieb und schoen? (Heinrich Heine) - ?Uw aangezicht, zoo lief en teer?  (translation van G.T.Antheunis)
6 mélodies pour une voix moyenne avec accompagnement; op. 40 published in Leipzig, Brüssel, London, New York, Breitkopf and Haertel, 1890-1899?
  1. Feuille d?automne
  2. Comme une Fleur (a la mémoire de madame Adélaïde Mussely
  3. Petit enfant (A. Carteret)
  4. Tout n?est qu?images fugitives(J. Reboul)
  5. Plainte (Mme A. Tastu)
  6. Le chant du Cygne (poesie d?apres l?Allemand de E. Geibel, par Mad. Tinel)
Sechs Lieder fuer eine mittlere Singstimme und Klavier; op 40 (German text Elisabeth Alberdingk Thym and English translation by Elsa D?Esterre-Keeling) published in Leipzig, Brüssel, London, New York: Breitkopf and Haertel, 1892
  1. Herbstblatt (After the French of Emma Tinel)
  2. Wie eine Blume (After the French of G. Mussely)
  3. Wiegenliedchen (After the French of A. Carteret)
  4. Alles ist leerer Wahn (After the French of J. Reboul)
  5. Klage (After the French of A. Tastu)
  6. Die Wasserrose (After the French of Emma Tinel)
6 Melodies pour voix avec accompagnement de piano; op 42 published in Leipzig, Brüssel, London, New York: Breitkopf and Haertel
  1. Sur la Falaise (P. Bourge)
  2. La Violette (Dubo)
  3. Si tu savias! (Mme de Ségur)
  4. Dimanche (J. Autra)
  5. La prière de l?enfant (A. De Lamartine)
  6. L'espérance (Victor Hugo)
Sechs Lieder für eine Singstimme mit Klavierbegleitung; op.42 (translations Elisabeth Alberdingk Thijm) published in Leipzig; Brüssel: Breitkopf & Härtel, 1894
  1. Am Strande
  2. Veilchen
  3. Ach, wuesstest Du!
  4. Sonntag
  5. Des kindes Gebet
  6. Hoffnung
  • Marie-Thérèse Buyssens. "Benoit, Peter." In Grove Music Online. Oxford Music Online, (accessed January 17, 2012).
  • Prosper Verheyden. "Peter Benoit and the Modern Flemish School" in the proceedings of the Royal Musical Association, Taylor & Francis, Ltd, 41st Session. (1914 - 1915), pp. 17-35.
  • H. P. Morgan-Browne. "Peter Benoit né Pierre Benoit" in Music & Letters, Oxford University Press, Vol. 10, No. 1 (Jan., 1929), pp. 73-82.
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  • Henri Vanhulst. "Tinel, Edgar." In Grove Music Online. Oxford Music Online, (accessed January 20, 2012).
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  • Jan Dewilde: Gustave huberti. In Studiecentrum voor Vlaamse Muziek: (accessed January 21 2012).
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  • Nicolaï, W.: Uitvoering der Nederlandsche Toonkunstenaars-Vereeniging, in: Caecilia, jrg. 45, nr. 6, 1 maart 1888, p. 49-50.