This is a list of musical compositions by the 19th-century French composer Charles Gounod (1818–1893), sorted by musical work category and date.Condé, Gérard. Charles Gounod. Paris: Fayard. 2009. 1086 p.
Operas Sapho (Opera in 3 acts, premiered 16 April 1851 at Salle Le Peletier of the Paris Opera, revised to 2 acts on 26 July 1858, and revised again to 4 acts at the Palais Garnier on 2 April 1884). Libretto by Émile Augier after the life of the poet Sappho of Lesbos. The creation of the work was given an impetus by, and provided a central role for, the mezzo-soprano Pauline Viardot. La nonne sanglante (The Bloody Nun) (Opera in 5 acts, premiered 18 October 1854 at the Salle Le Peletier). The libretto was by Eugène Scribe and Germain Delavigne, after an episode in The Monk, a gothic novel by Matthew Gregory Lewis. Le médecin malgré lui (The Doctor in spite of himself) (Opéra comique in three acts, premiered at the Théâtre Lyrique on 15 January 1858). Libretto by Jules Barbier and Michel Carré after Molière's play of the same name. Faust (Opera in five acts, premiered at the Théâtre Lyrique on 19 March 1859; the opera was revised with a ballet being added and spoken dialogue replaced by sung recitative for performances at the Salle Le Peletier in 1869). The libretto was by Barbier and Carré, from Carré's play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe's Faust, Part One. Philémon et Baucis (Opera in three acts, first performed at the Théâtre Lyrique on 18 February 1860. Gounod revised this for a definitive 2-act version at the Opéra-Comique on 16 May 1876). Libretto by Barbier and Carré, after the tale of Baucis and Philemon as told by Jean de La Fontaine, derived in turn from Ovid's Metamorphoses. La colombe (The Dove) (Opéra comique premiered in a one-act version at the Theater der Stadt in Baden-Baden on 3 August 1860, revised on 7 June 1866 by the Opéra-Comique at the Salle Favart in Paris in an expanded two-act version). Libretto by Barbier and Carré based on the poem Le Faucon by La Fontaine. La reine de Saba (The Queen of Sheba) (Grand opera in four or five acts, premiered at the Salle Le Peletier by the Paris Opera on 28 February 1862. Libretto by Jules Barbier and Michel Carré inspired by Gérard de Nerval's La Reine de Saba, in his collection of travel writing, Le voyage en Orient. Mireille (Opera in five acts, premiered at the Théâtre Lyrique on 19 March 1864). Libretto by Michel Carré after Frédéric Mistral's poem Mirèio. Roméo et Juliette (Opera in five acts, first performed at the Théâtre Lyrique on 27 April 1867. A ballet was added for its transfer to the Paris Opera on 28 November 1888). Libretto by Jules Barbier and Michel Carré, based on the play Romeo and Juliet by William Shakespeare. Cinq-Mars (Opera in four acts, initially performed at the Opéra-Comique on 5 April 1877). Libretto by and Louis Gallet loosely adapted from Alfred de Vigny's historical novel based on the life of Louis XIII's favourite the Marquis of Cinq-Mars, who conspired against Louis' First Minister, Cardinal Richelieu. Maître Pierre (Master Peter) (Uncompleted project for an opera started in 1877, abandoned in 1878. The music was later arranged by the composer as a Suite dramatique en quatre parties). The libretto was by Louis Gallet, after the life of Peter Abelard, the twelfth century scholar-philosopher and lover of Héloïse. Polyeucte (Opera in five acts. Originally intended for the Salle Le Peletier, the premiere was delayed when that theatre was destroyed by fire in 1873. The work eventually premiered in the new Palais Garnier on 7 October 1878). The libretto was by Jules Barbier and Michel Carré, after the play of the same name (1643) by Pierre Corneille, about Saint Polyeuctus, an early Roman martyr in Armenia. Le tribut de Zamora (Grand opera in four acts, premiere at the Paris Opera's Palais Garnier on 1 April 1881). The libretto by Adolphe d'Ennery and Jules Brésil was set in Moorish Spain shortly after the Battle of Zamora in 939 CE.
Oratorios Messe a tre (1841) Tobie. Words by Lefèvre (1854) Version in English by H. Farnie Les Sept Paroles de Notre Seigneur Jésus-Christ sur la Croix (1855) Gallia For solo soprano, chorus, orchestra, and organ (1871) Versions: For voice and piano. Arranged by Antony Choudens For piano solo. Arranged by Antony For voice, piano, organ, violin or violoncello. With French, Latin, Italian, and German words (1872) Jésus sur le lac de Tibériade (1873) Version for voice and piano arranged by Léon Lemoine La rédemption, trilogy (1882) Versions: For voice and piano arranged by Berthold Tours In English by J. Troutbeck In German by J. Weyl Christus factus est (1842) Mors et vita, trilogy (1884) Versions: For voice and piano. Arranged by Brown (1885) In English by J. Troutbeck Saint Francois d'Assise (1891)
Ballet
Faust (1868) Roméo et Juliette (1888) Souvenir d'un bal, air. For violin and piano (1896)
Theatre
"Dramatic pieces" (1841) "Fragments from Romeo e Giulietta (1842) "Sextet from Le cantatrici villane" (1842) Ulysse, incidental music (preludes, melodrames and choruses) for the five-act tragedy by François Ponsard (1851) Le Bourgeois gentilhomme, by Molière (1856) Les Deux Reines de France, drama by Ernest Legouvé (1865) Jeanne d'Arc, drama by Jules Barbier (1873) Georges Dandin, comedy by Molière (1873) Les drames sacrés, by Armand Sylvestre and Eugène Morand (1892)
Masses
Mass (1839) Mass (1840) Requiem (1842) Mass (1843) A son ami Gabriel de Vendeuvre. Two tenors and two basses (1846) Version in German by J. André. With organ ad libitum A l'association des sociétés chorales de Paris et du departement de la Seine. For Four-part male choir and organ ad libitum (1846) Version for 3 voices arranged by A. Lebeau. Messe des orphéonistes. (1870) Mass for 3-part male choir (1853) Versions: For 3-part male choir and organ (1863) For 4 voices St. Cecilia Mass (Messe solennelle à Sainte-Cécile) ("A la mémoire de J. Zimmermann, mon père") (1855, revised 1864) Versions: For soli, chorus, orchestra, and organ For soli, chorus, and organ. Orchestra reduction by E. Vast (1861) For soli, chorus, and organ. Added second offertory (1873) For soli, four-part chorus, and organ or piano. Added Laudate Dominum (1878) For soli, two-part chorus, and organ or piano (1887) The Kyrie, Sanctus, Benedictus, and Agnus Dei, for soli or chorus in unison with organ or piano accompaniment (1886) With the organ replacing the wind instruments. To be played with a string quartet. Arranged by H. d'Aubel (1895) Messe brève en ut majeur. Three-part (soloists or male choir) and organ or harmonium (1872) Version for four voices (male choir) and organ Messe brève pour les morts (1873) Messe du Sacré-Cœur de Jésus. Four-part. For chorus and orchestra (1876) Versions: For voice and piano. Arranged by A. Lavignac For 2 voices and organ or harmonium. Arranged by Antony Choudens (1877) For piano and organ. Arranged by Leon Lemoine (1878) For 3 voices and organ The office of holy communion. Translated by George F. Tredaway Messe No. 3. 3-part. With organ ad libitum (1882) Versions: In E (from G) For piano and voice. Arranged by Berthold Tours (1883) Messe funèbre à quatre voix. for soprano 1, soprano 2, tenor, bass, and organ (1883) A la mémoire de Jeanne d'Arc for soli, chorus, and organ (1887) [Plus a prelude with a fanfare and other pieces] Quatrième messe solennelle for chorus and organ (1888) [Preceded by a Te Deum] Aux cathédrales. Four-part. For soli, chorus, and organ or piano (1890) Messe brève no. 7 for four-part choir, soli, and organ or piano (1890) Messe dite de Clovis. Four-part. With organ (1890) Messe de Saint-Jean. Four-part. With organ (1890) Requiem for soli, chorus, and piano (1893) Versions: For soli, chorus, and organ For 2 voices and organ With an accompaniment of string quartet or harp and organ
Motets Te deum (1841) Hymne en français For soli, chorus, and orchestra (1843) A la reine des apôtres. For soprano or baryton (1843, revised in 1846 as Chant pour le départ des missionnaires du séminaire des missions étrangères) Versions: For soprano or tenor For 2 voices For chorus Chantons, chantons de Dieu le pouvoir éternel, by Handel. For chorus. (1843) Domine salvum (1853) Ave verum (1853) O salutaris (1854) Dans cette étable, pastorale sur un noël du XVIIIème siècle (1855–56) Bethléem, noël du XVIIIème siècle. With piano or organ (1855–56) Version in English by Farnie The shepherd's nativity hymn (1855–56) Version in English by Farnie Regina coeli; Laudate Dominum (1856) O salutaris; Inviolata, four-part (1856) Laudate Dominum, two-part (1856) O salutaris hostia, for solo soprano, chorus, and orchestra (1856) Ave verum de Mozart, four-part. For chorus (1856) Interlude and prayer for Joseph en Egypte by Méhul. For voice (1856) Ave verum, for solo bass or alto (1856) Version for solo tenor or soprano Jésus de Nazareth, words by A. Porte (1856) Versions: With piano or organ in G, C, and E♭ (1860–66) With orchestra (1864) In English by Henry Chorley (1862) For orchestra and chorus (1877) O salutaris eternel, for orchestra and organ or solo organ ad libitum (1856) Da pacem, antiphon. three-part (1856) Pater noster, four-part (1856) Inviolata, two-part (1856) Ave Maria. Words by Paul Besnard. For solo soprano, organ, piano, and orchestra (1859). Based on the first prelude (from BWV 846) of The Well-Tempered Clavier by Johann Sebastian Bach. Versions: For solo alto or baritone and piano For solo soprano or tenor and piano For soprano or tenor, violin, organ, and piano For soprano, violin, organ, piano, and orchestra In English by Chorley Fixer ici ton sort (1859) Prière à Marie (1861) Près du fleuve étranger. Four-part. Words by A. Quételard (1861) Versions: In English by Farnie (1866) As Ave verum. For chorus and orchestra Tout l'univers est plein de sa magnificence. Words by Racine (1861) Ave verum. Four-part (1861) Ave verum; O salutaris. With orchestra or organ (1861) Le vendredi-saint. six-part. Words by Alexis Badou (1866) Noël, chant des religieuses. Words by Jules Barbier. For female soli and chorus, with piano and organ ad libitum (1866) Versions: In English by Webb (1869) (this work is performed by the Robert Mitchell Boys Choir in the 1947 film The Bishop's Wife)Archived at Ghostarchive and the Wayback Machine: In English by Metzler (1889) Stabat mater. Words by M. Castaing. For orchestra (1867) Version with piano and organ ad libitum Tota pulchra es. Two-part (1868) Sub tuum. Two-part (1868) Prière à la Vierge, Words by M. (1868) Le mois de Marie (1868) Le crucifix (1868) Version in English by Webb (1869) Sicut cervus. Four-part (1868) Cantique pour l'adoration du Saint-Sacrement. Words by A. de Ségur (1868) Le ciel a visité la terre. Words by A. de Ségur (1868) In English by Farnie (1877) Prière pour l'empereur et la famille impériale. Words by Baclen (1869) L'anniversaire des martys, 6 canticles. Words by C. Dallet. With piano or organ (1870) Ave verum (1871) There is a green hill far away. Words by C. F. Alexander (1871) Motet pour la fête de l'exaltation de la Sainte Croix. With piano, organ, and harmonium ad libitum (1871) De profundis, (1871) O salutaris. Two-part, for mezzo-soprano and tenor (1871) Angeli custodes (1872–73) Prière d'Abraham. Words by Jules Barbier (1872–73) O salutaris. For solo soprano or tenor (1872–73) Version for alto or baryton (1875) Two Benedictus: A morning service. An evening service (1872–73) L'Ave Maria de l'enfant (no date) To God, we choir above. Words by P. Skelton (no date) Que sa volonté soit faite! With piano or organ ad libitum (1872) Cantique pour la première communion. Words by R. P. Dulong de Rosnay. With piano or harmonium (1872) Bienheureux le cœur sincère. 2-part. Words by Jules Barbier. For soprano and alto (1872)