For the general public, Déodat de Séverac (1872-1921) does not necessarily represent an established figure in the pantheon of French art song. The Catalan composer remains associated more with piano literature, be it En Languedoc (1903-04) or Cerdana (1911), than with the universe of the mélodie, dominated in his generation by the tutelary shades of Gabriel Fauré or Henri Duparc. In this sense, our memory is quite unfair, since Séverac notably enriched the art song genre and repertoire. Moreover, how could it be otherwise with a creator as sensitive to the universe of sounds as to the plays of light and of words? Lionel Pons