| 1853 | The second Empire, a period of economic growth and urban transformation in France under Napoleon III | Pierre-Hippolyte Chaminade, director of a British insurance company married Marie-Stephanie Courtin | |
| 1857 | France was enjoying a period of economic growth and bourgeois prosperity under the Second Empire, | Cecile Louise Stephanie, born August 8 in Paris. 20 rue Saint-Georges, 3rd child of six children, and baptized in the Sainte-Marie Church of Batignolles on October 7 | |
| 1861 | | | |
| 1862 | | Wrote first composition which were later published in a French magazine | |
| 1863 | | Moved to 52, rue d’Orleans (today rue Legendre) | |
| 1865 | Popularity of Offenbach’s operetta, the rise of French instrumental virtuosity, and the expansion of bourgeois piano culture. | Her uncle introduced her to Georges Bizet. Purchased property in Les Vésinet: 39 boulevard du Midi, (today it is boulevard du Président-Roosevelt).
Chaminade lived there from 1865 to 1925. | |
| 1866 | | | 1st composition |
| 1867-8 | Paris hosted the Exposition Universelle | Bizet helped arrange for her to be evaluated by Félix Le Couppey | |
| 1868 | Attended Meyerbeer’s Les Huguenots on 14 December 1868 | | |
| 1869 | | | First publication: Op. 1 Deux Mazurkas |
| 1870-71 | Franco-Prussian War (1870–1871) and the collapse of the Second Empire. 25 February 1871, the Société Nationale de Musique was founded by Camille Saint-Saëns and Romain Bussine to promote new French music under the motto Ars Gallica | Family fled to Angoulême to avoid the Franco-Prussian War | |
| 1874 | France, as a newly established Third Republic | Gave her first public performance at the Church of Excideuil in the Dordogne, near her family's newly acquired Château de La Farge. Performing with violinist Henri Marsick, her mother, her sister, and the brass band of Excideuil. | |
| 1875 | Controversial premiere of Bizet’s Carmen. | On 3 March, Cécile Chaminade gave her first public recital at Le Vésinet, performing a Mozart violin sonata with the violinist Martin Pierre Marsick. The same evening, she attended the premiere of Bizet’s Carmen at the Opéra-Comique, which received a troubled initial reception despite later becoming one of the most celebrated operas in the repertory | |
| 1877 | Organizations such as the Société Nationale de Musique and major venues such as the Salle Pleyel helped provide opportunities for the presentation of new French works. | Made her first major Paris concert appearance at the Salle Pleyel, performing Widor’s piano trio with Martin Pierre Marsick and Jules Delsart. | Published Etude Op. 1 |
| 1878 | Paris hosted the Exposition Universelle | 1st concert devoted to her own works: Félix Le Couppey organized a concert devoted entirely to Chaminade’s compositions. The recital, held presented her works to Parisian musical circles and helped establish her reputation as a composer as well as a pianist. | |
| 1879 | Admitted into the Societe nationale de musique. | | |
| 1880 | Composers and organizations sought to establish a distinctive French musical tradition. | On 8 February 1880, Chaminade appeared as pianist in a concert at the Salle Érard devoted entirely to her own compositions. The program included the premiere of her Piano Trio in G minor, alongside several piano pieces and mélodies. The concert was warmly received by both critics and the public and marked an important milestone in her early career. | |
| 1881 | Societè Nationale de Musique premeire Suite pour Orchestra in concert on April 4 in Salle Erard. Piano Trio No. 1 published by Durand, 1882. Concerts des Champs-Elysees, then by Pasdeloup at the Popular Concerts | | Published Piano Trio, Op. 11 by Durand. |
| 1882 | Premiere of Ambroise Thomas's Françoise de Rimini at the Paris Opéra | Chaminade directed the first private performance of her opéra-comique La Sévillane at her parents' Paris home. Attended by prominent musicians and critics, the performance was warmly received, and hopes were expressed that the work would be staged at the Opéra-Comique, although this never came to fruition. The same year, her niece Antoinette Chaminade was born. | |
| 1884 | Marriage of Henriette Chaminade and Moritz Moszkowski. Composed Sonata in C minor, Piano Trio No. 2, Op. 34, composed Les Amazones, Symphonie Dramatique, Op. 26 for orchestra, chorus, and soloists | | |
| 1890 | | | |
| 1887 | Gabriel Fauré works were shaping the new French lyric style. Death of César Franck | Following the death of her father, Pierre-Hippolyte Chaminade, on 12 March, the family sold their Paris residence and Le Vésinet becomes the family home | |
| 1888 | Public performances of ballet Calirhoé Op. 37, Les Amazones, Op. 26, premiere of Concertstück and Les Amazones, in Anvers (Antwerp), Belgium. Received the purple ribbon from the French Academy | | |
| 1889 | Exposition Universelle of 1889; Eiffel Tower inaugurated | Performance of Concertstück for piano and orchestra Op. 40, at the Concerts Lamoureux in Paris (20 January) under Charles Lamoureux. The performance was received with great enthusiasm and marked a turning point in her career as a concert pianist. Later that year on March 4, Louise Steiger performed the work at the Salle Pleyel under Édouard Colonne. | |
| 1892 | Made her debut in England on June 18, subsequent tours followed in 1895, 1897, 1899, subsequent tours followed in 1895, 1897, 1899, 1902, 1908, 1922, and 1924. French government awarded her Officier de L’Instruction Publique | | |
| 1898 | | Moved to Visinet to live all year round | |
| 1894 | Debussy's Prélude à l'après-midi d'un faune premiered in Paris | Gave first private performance for Queen Victoria at Windsor Castle. Continued concert tours in Germany and Belgium, including a performance in Tournai | |
| 1895 | Tour in Brussels | | |
| 1897 | Queen Victoria celebrated her Diamond Jubilee, marking the 60th anniversary of her reign | Awarded the Jubilee Medal, recognizing her prominence as a composer and pianist in Britain | |
| 1899 | Appeared in Vienna and then toured Poland, Hungary, Romania, Bulgaria, Serbia, Greece, and Turkey | | |
| 1900 | Paris hosted the Exposition Universelle of 1900, the largest World's Fair of the nineteenth century, | Contributed the memoir "Georges Bizet" to The Century Library of Music. Deaths of youngest sister Henriette-Moszkowski and her maternal grandmother | Op. 98 Six Feuillets d'album; Op. 100 Aux Dieux Sylvains; Op. 101 – L'Ondine; Op. 102 Joie d'Aimer; Op. 103 – Moment musical |
| 1901 | Queen Victoria's death marked the end of the Victorian era and the beginning of the Edwardian age | Chaminade's Prélude for organ, Op. 78, was performed during the funeral ceremonies of Queen Victoria (22 January 1901). On 29 August, Cécile Chaminade married Louis-Mathieu Carbonel, a music publisher and bookseller from Marseille. International tours, included Greece and Constantinople, she received honors such as the Ottoman Order of the Chefakat and the Papal Order of St. John of the Lateran | |
| 1902 | Claude Debussy's opera Pelléas et Mélisande premiered at the Opéra-Comique on 30 April 1902. This marked a new direction in French opera and contrasted with the more traditional lyric style associated with Chaminade's generation | Winter stays at Tamaris begin. Birth of Colette Lorel. Commissioned by the Paris Conservatoire to write Concertino Op. 107 for solo flute and orchestra for the the annual Concours | Op. 107 Concertino; Op. 108 Agitato; Op. 109 Cinquième Valse |
| 1903 | French music increasingly moved toward Impressionism, with composers such as Claude Debussy and Maurice Ravel attracting growing attention. | Death of Uncle Charles | Published several piano works Ops. 109-112; a number of new mélodies. Made gramophone recordings of seven of her compositions for the Gramophone and Typewriter Company |
| 1905 | Her niece Sylvia Morzkowski died | | |
| 1906 | Mathieu Carbonel died in Vésinet on November 18 | | |
| 1908 | | The United States tour began with the departure from Le Havre on October 10. Chaminade and her singers arrived in New York City in the late afternoon of October 17. They performed seventeen concerts across fourteen cities from Boston to St. Louis before returning to France aboard the Atlantic steamer La Provence on December 24,1908. | Published Op. 127 Poème Provençal. Recorded at least thirty-six piano rolls for Aeolian Hall |
| 1909 | Enoch published | Death of Uncle Ludovic | Op. 131 Marche americaine, dedicated to John Philip Sousa and Op. 132.Etude romantique |
| 1910 | Mother died | | |
| 1913 | | Appointed Chevalier de la Légion d’honneur. Return to public performances, including a successful London appearance. | |
| 1914 | Outbreak of the First World War disrupted European cultural life, concert seasons were cancelled or curtailed, many musicians entered military service, and music publishing slowed significantly. | Left home of Le Vesinet. Headed a hospital and stopped music composition. Devoted much of her energy to charitable causes and patriotic activities in support of France. | |
| 1915 | | Served as president of the supervisory committee of the Hôtel des Sablettes-les-Bains, which operated as Military Convalescent Home (ACM No. 164) with a capacity of 30 beds. | |
| 1917 | | Wrote Mass for two voices and organ | |
| 1924 | | Last visit to England | |
| 1925 | | Sold family property at Le Vésinet and settle in Tamaris near Toulon, live in Villa Provençale | |
| 1928 | | Publication of last composition La Nef sacree | La Nef sacree |
| 1933 | | Death of Henri Chaminade | |
| 1936 | Popular Front government in France and the eve of the Spanish Civil War | Left her villa near Toulon and moved to Monte Carlo with the help of her niece, Antoinette Chaminade, | |
| 1938 | | Left foot amputated | |
| 1944 | | Died on April 13 in Monte Carlo | |
| 1886 | | | Published Six Études de concert, Op. 35, including the celebrated piano miniature Automne |
| 1907 | | Remained at Le Vésinet caring for her elderly mother | Sommeil d’enfant, Op. 125; Album des Enfants, Second Series, Op. 126 |
| 1876 | The first Bayreuth Festival opened in August 1876, with the premiere of Richard Wagner's complete Der Ring des Nibelungen. The festival profoundly influenced European musical aesthetics and intensified debates in France over Wagnerism and the future of French music. | Marked the beginning of her regular publishing career | Op. 1a: Étude Printanière |
