26 - BRUNEAU (Alfred) (1857–1934). French composer and conductor. A friend and collaborator of Émile Zola, he was one of the leading figures of musical naturalism. His notable compositions include *Le Rêve*, *L'Attaque du moulin*, and *Messidor*.

BRUNEAU (Alfred) (1857–1934). French composer and conductor. A friend and collaborator of Émile Zola, he was one of the leading figures of musical naturalism. His notable compositions include *Le Rêve*, *L'Attaque du moulin*, and *Messidor*. Autograph letter signed “Alfred Bruneau” to Louis Gallet. Villa Lucie, Bénerville, near Deauville (Calvados), June 18, 1892. 2 pages, in-8 format. Mourning paper. An interesting letter devoted to the composition of his opera *L'Attaque du moulin* and the preparation of the scene featuring the young girls. Bruneau announces that he is actively continuing his work and wishes to receive the lied intended for the sentinel and the following act as soon as possible. “I am working and making progress. I would therefore very much like to receive the song for the sentry and the next act, as I would be sorry to be forced to stop and not take full advantage of the quiet moments I have here to work diligently. ” He then clarifies his musical intentions, wishing to introduce a darker tone to the scene with the young women to set the stage for the work’s dramatic contrast: “My second act will be very intense, fast-paced, and will end in the profound sadness of the invaded country.” He asks his correspondent to give the scene with the young women a certain prominence in order to evoke the rustic atmosphere of the first act, and to entrust the choruses not to chorus members but to professional singers. The letter concludes with an invitation to come visit him in Trouville and with greetings to his family and friends. A fine example of professional correspondence between the composer and his librettist, offering direct insight into the creation of *L’Attaque du moulin*, based on Émile Zola, which premiered at the Opéra-Comique in 1893. Small tear in the margin at the top, with no significant damage to the text. Old creases.