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Brochure 2019
Saison 2019 | 2020 LA SAISON EN UN COUP D’ŒIL LES ACTIVITÉS JEUNESSE Atelier Musical et Petit concert des mélomanes p. 10 CONCERT FAMILLES LES QUATRE SAISONS DE VIVALDI Dimanche 8 mars 2020 à 15h00 Théâtre du Conservatoire p. 11 LES BÉBÉ CONCERTS 14 séances Salle Gaveau et Théâtre du Conservatoire p. 13 OFFENBACH l Dimanche 8 décembre 2019 à 17h00 Salle Gaveau p. 15 CARTE BLANCHE À MICHEL PLASSON l Dimanche 26 janvier 2020 à 17h00 Salle Gaveau p. 17 SEASONS CONCERT DE LA CHAMBRE LAMOUREUX Jeudi 5 mars 2020 à 20h00 Salle Gaveau p. 19 AILLEURS l Dimanche 29 mars 2020 à 17h00 Salle Gaveau p. 21 NUIT BLEUE Jeudi 14 mai 2020 à 20h00 Salle Gaveau p. 23 l Petit concert des mélomanes pour les 8-11 ans. Informations page 10. « Je souhaite à mes chers amis de l’Orchestre Lamoureux, dont l’Histoire est présente dans mon cœur, une belle saison avec un large public pour partager le miracle de la musique. » MICHEL PLASSON L’ORCHESTRE LAMOUREUX Orchestre symphonique français fondé en 1881 par le Son histoire est aussi liée aux noms de grandes figures violoniste Charles Lamoureux sous le nom de « Société des de la musique tels que Paul Paray, Igor Markevitch, Yutaka nouveaux Concerts », l’Orchestre Lamoureux a été créé pour Sado et plus récemment Michel Plasson. Côté solistes, il promouvoir une musique nouvelle auprès d’un large public. invite Yehudi Menuhin à ses débuts, Pablo Casals, Arthur Grumiaux, Clara Haskil, David Oistrakh, Jacques Thibaud, Dès ses premières décennies d’existence, il s’impose Karine Deshayes.. -
Claude Debussy in 2018: a Centenary Celebration Abstracts and Biographies
19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION ABSTRACTS AND BIOGRAPHIES Claude Debussy in 2018: A Centenary Celebration Abstracts and Biographies I. Debussy Perspectives, 1918-2018 RNCM, Manchester Monday, 19 March Paper session A: Debussy’s Style in History, Conference Room, 2.00-5.00 Chair: Marianne Wheeldon 2.00-2.30 – Mark DeVoto (Tufts University), ‘Debussy’s Evolving Style and Technique in Rodrigue et Chimène’ Claude Debussy’s Rodrigue et Chimène, on which he worked for two years in 1891-92 before abandoning it, is the most extensive of more than a dozen unfinished operatic projects that occupied him during his lifetime. It can also be regarded as a Franco-Wagnerian opera in the same tradition as Lalo’s Le Roi d’Ys (1888), Chabrier’s Gwendoline (1886), d’Indy’s Fervaal (1895), and Chausson’s Le Roi Arthus (1895), representing part of the absorption of the younger generation of French composers in Wagner’s operatic ideals, harmonic idiom, and quasi-medieval myth; yet this kinship, more than the weaknesses of Catulle Mendès’s libretto, may be the real reason that Debussy cast Rodrigue aside, recognising it as a necessary exercise to be discarded before he could find his own operatic voice (as he soon did in Pelléas et Mélisande, beginning in 1893). The sketches for Rodrigue et Chimène shed considerable light on the evolution of Debussy’s technique in dramatic construction as well as his idiosyncratic approach to tonal form. Even in its unfinished state — comprising three out of a projected four acts — the opera represents an impressive transitional stage between the Fantaisie for piano and orchestra (1890) and the full emergence of his genius, beginning with the String Quartet (1893) and the Prélude à l’Après-midi d’un faune (1894). -
Ricardo Viñes's Pianistic Legacy: an Evaluation of His Articles
Ricardo Viñes’s Pianistic Legacy: An Evaluation of his Articles, Recordings, Compositions, and Pedagogy by David Potvin A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by David Potvin 2020 Ricardo Viñes’s Pianistic Legacy: An Evaluation of his Articles, Recordings, Compositions, and Pedagogy David Potvin Doctor of Musical Arts Faculty of Music University of Toronto 2020 Abstract Ricardo Viñes (1875-1943) was a Catalan pianist who spent most of his career based in Paris. He premiered many of the major piano works by Debussy, Ravel, and other French, Spanish and Latin American composers of the early twentieth century. He had a reputation among his peers as a pianist who possessed an extraordinary technique, who was selflessly committed to the integrity of his musical performances, and who sacrificed further career success to promote the music of lesser-known composers. His legacy is that of a contemporary music specialist. Literature on Viñes is based mostly on his diary, which he kept between 1885 and about 1914, testimony by his students, press reviews and homages by his peers. The English literature on Viñes is lacking a study of his published articles, compositions and recordings, and has not convincingly challenged Elaine Brody’s assertion that Viñes was essentially a self-taught pianist. This dissertation examines that material and finds that Viñes’s articles indicate his preference for romantic musical ideals, his compositions belie his purported technical prowess, his recordings ii reveal some technical limitations, and his training and teaching methods are rooted in the French piano school tradition. -
Claude Achille Debussy Bewitching in Music, Bastard in Love
finaldeb.doc 14,506 Claude Achille Debussy Bewitching in music, Bastard in Love Born: Saint-Germain-en-Laye (near Paris), 22 August 1862 Died aged 55: Paris, 25 March 1918 There is a woman at each crossroad of Debussy’s life. Certainly women of all ages seemed fascinated by him, and they attached themselves to him like ivy to a wall. [Marcel Dietschy: A Portrait of Claude Debussy] He was - it’s all in his music - a very sensual man. [Maggie Teyte, soloist in Pelléas et Mélisande, 1908] Claude has still not recovered from the nibbles of your dear little mouth. [Debussy to Lilly Texier, 24 April 1899] She knew what she wanted and had come prepared. When, in reply to her knock, Claude opened the door, he saw that she was nude under her fur coat. [from Pierre La Mure’s novel: Clair de Lune] Let’s not mince words. Where most of his many women were concerned Debussy was a bastard! After his death there was a roaring trade in grotesque wax effigies, demanded by screaming feminists, of this monster with the renowned bulging cranium and double-forehead. I made that up about the effigy, of course, though it’s true that Debussy’s double forehead was always his most distinguishing physical feature. Double forehead or not, Oliver Reed was certainly the right man to play Debussy in Ken Russell’s BBC Omnibus Classic documentary of 1963, The Debussy Film, scripted by Melvyn Bragg. Russell selected Reed after seeing him on Juke Box Jury and being stunned by his physical resemblance to the composer. -
Programme De Salle HECTOROCL.Indd
PROGRAMME Saison 2018 | 2019 DE SALLE HECTOR 100% BERLIOZ Jeudi 17 janvier 2019 20h Théâtre des Champs-Élysées VOTRE CONCERT SYMPHONIQUE LE PROGRAMME L’Orchestre fait son retour dans l’exceptionnel Théâtre des Champs-Élysées avec un programme intégralement dédié au compositeur français Hector Berlioz, qui clôt avec panache notre série 100%. Durée approximative du concert : 1h45 hector Berlioz Nuits d’été Symphonie fantastique op. 14 benjamin levy Direction albane carrère Mezzo-soprano 19H : RENCONTRE DE 30 MIN AVEC LES ARTISTES Avant chaque concert, les musiciens viennent à la rencontre des spectateurs. Ce moment convivial offre la possibilité à chacun de faire connaissance, de discuter des œuvres programmées et de la vie de l’Orchestre. Entrée libre sur présentation du billet. Cet événement s’inscrit dans le cadre de la Célébration du cent cinquantenaire de la disparition de Berlioz, par le Ministère de la Culture. L’ORCHESTRE ET SON HISTOIRE Orchestre Lamoureux est un orchestre symphonique français L’ qui se produit dans les grandes salles de concert parisiennes. L’Orchestre Lamoureux est composé de 83 musiciens titulaires, recrutés sur concours ; il est subventionné par la Ville de Paris et la DRAC Ile-de-France et financé par son cercle de mécènes privés. Fondé en 1881 par Charles Lamoureux sous le nom de « Société des Nouveaux Concerts », il est reconnu d’utilité publique à partir de 1961. Charles Lamoureux était un grand admirateur de la musique de Richard Wagner, ce n’est donc pas un hasard si c’est grâce aux Concerts Lamoureux que l’on a entendu Lohengrin pour la première fois en France en 1891. -
<I>Rapsodie Pour Orchestre Et Saxophone</I>, by Claude Debussy
Western Kentucky University TopSCHOLAR® Student Research Music 4-7-2008 Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/mus_stu_res Part of the Music Commons Recommended Citation Blum, Jonathon, "Rapsodie pour Orchestre et Saxophone, by Claude Debussy" (2008). Student Research. Paper 1. http://digitalcommons.wku.edu/mus_stu_res/1 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Student Research by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Music Student Research Western Kentucky University Year Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] This paper is posted at TopSCHOLAR. http://digitalcommons.wku.edu/mus stu res/1 Rapsodie pour Orchestre et Saxophone, by Claude Debussy, Jonathon Blum The Rapsodie pour Orchestre et Saxophone composed by Claude Debussy is a very intriguing work that for all its musical merit remains pushed aside by many musicologists and ignored by the mainstream orchestral repertoire. Composed by Debussy in Paris in 1904 and published by Durand, this work lasts a duration of about ten minutes and features an orchestra with solo saxophone. 1 The piece was commissioned in 1903 by a wealthy Boston aristocrat/amateur saxophonist Mrs. Richard J. Hall, often referred to as Elise Hall. The Rapsodie was composed at the same time that Debussy was working on La Mer and when he was in a period of great distress in his own life. -
Stylistic Influences and Musical Quotations in Claude Debussy's Children's Corner and La Boîte A
EVOCATIONS FROM CHILDHOOD: STYLISTIC INFLUENCES AND MUSICAL QUOTATIONS IN CLAUDE DEBUSSY’S CHILDREN’S CORNER AND LA BOÎTE À JOUJOUX Hsing-Yin Ko, M.B., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: Vladimir Viardo, Major Professor Elvia Puccinelli, Minor Professor Frank Heidlberger, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Lynn Eustis, Director of Graduate Studies in the College of Music James Scott, Dean of College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Ko, Hsing-Yin, Evocations from Childhood: Stylistic Influences and Musical Quotations in Claude Debussy’s Children’s Corner and La Boîte à Joujoux. Doctor of Musical Arts (Performance), May 2011, 44 pp., 33 musical examples, bibliographies, 43 titles. Claude Debussy is considered one of the most influential figures of the late 19th century and early 20th centuries. Among the various works that he wrote for the piano, Children’s Corner and La Boîte à joujoux distinguish themselves as being evocative of childhood. However, compared to more substantial works like Pelléas et Mélisande or La Mer, his children’s piano music has been underrated and seldom performed. Children’s Corner and La Boîte à joujoux were influenced by a series of eclectic sources, including jazz, novel “views” from Russian composers, and traditional musical elements such as folk songs and Eastern music. The study examines several stylistic parallels found in these two pieces and is followed by a discussion of Debussy’s use of musical quotations and allusions, important elements used by the composer to achieve what could be dubbed as a unique “children’s wonderland.” Copyright 2011 by Hsing-Yin Ko ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ............................................................................................... -
YSO Prelude 2019-09 September
the rosemary a. c. gottlieb 2019-20 season september 2019 Great Ladies of Swing and Bolero! GILBERT ORCHARDS POPS SERIES Dear Friends and Supporters of the Yakima Symphony Orchestra: Great Ladies of Swing Welcome to the Rosemary A.C. Gottlieb 2019-20 Season of the Yakima Saturday, Symphony Orchestra—my tenth year with this wonderful organization! We September 14, 2019 have a varied and exciting season lined up for you, throughout which we 7:30pm will be highlighting outstanding female composers and performers. It all The Capitol Theatre starts on September 14th with the first concert of the Gilbert Orchards Pops Lawrence Golan, Series, Great Ladies of Swing. The orchestra will be joined by the terrific conductor vocalist Dee Daniels who will perform some of the greatest hits of the swing era, specifically hits made famous by Ella Fitzgerald, Sarah Vaughan, Billie Dee Daniels, Holiday and Peggy Lee. Perhaps you’ve heard of some of these: Mack the vocalist Knife, Summertime, Sweet Georgia Brown, Send in the Clowns and Bill Bailey, Cass Devon Photo: Won’t You Please Come Home? In addition, the orchestra will perform some selections on their own including a special orchestration by Chris Brubeck of Concert Sponsor: Tree Top his father Dave Brubeck’s classic Blue Rondo à la Turk. I have had the pleasure of performing this piece with Chris and it is a real gem! THE YAKIMA VALLEY CLASSICAL SERIES The Yakima Valley Classical Series kicks off on September 28th with Bolero! This is an all-French concert featuring impressionist masters Claude Debussy Bolero and Maurice Ravel—the musical equivalent to a Monet art exhibition. -
'L'isle Joyeuse'
Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’ Esteban Buch To cite this version: Esteban Buch. Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’. Music and Letters, Oxford Univer- sity Press (OUP), 2019, 100 (1), pp.24-60. 10.1093/ml/gcz001. hal-02954014 HAL Id: hal-02954014 https://hal.archives-ouvertes.fr/hal-02954014 Submitted on 30 Sep 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Esteban Buch, ‘Climax as Orgasm: On Debussy’s “L’isle Joyeuse”’, Music and Letters 100/1 (February 2019), p. 24-60. Climax as Orgasm: On Debussy’s L’isle joyeuse This article discusses the relationship of musical climax and orgasm by considering the case of L’isle joyeuse, a piano piece that Claude Debussy (1862-1918) began in 1903, completing it in the Summer of 1904 soon after starting a sentimental relationship with Emma Bardac, née Moyse (1862-1934), his second wife and the mother of his daughter Claude-Emma, alias ‘Chouchou’ (1905-1919). By exploring the genesis of the piece, I suggest that the creative process started as the pursuit of a solitary exotic male fantasy, culminating in Debussy’s sexual encounter with Emma and leading the composer to inscribe their shared experience in the final, revised form of the piece. -
Claude DEBUSSY CENTENARY EDITION 2018
Claude DEBUSSY CENTENARY EDITION 2018 T ROIS M ORCEAUX 1903-1904 M ASQUES …d’un C AHIER d’E SQUISSES L ’ I SLE J OYEUSE iano Practical Editions pianopracticaleditions.com Claude DEBUSSY 1862 - 1918 Trois Morceaux 1903-04 I MASQUES page 4 I I …d’un CAHIER d’ESQUISSES page 24 I I I l ’ISLE JOYEUSE page 30 These three pieces published separately in 1903-04 are united here in one volume, possibly for the first time, where their interconnection as a group can be readily appreciated. By 1890 Debussy was deeply involved in the poetry of Verlaine — “charmant masques et bergamasques quasi tristes sous leurs déguisements fantasques”*. Masques and l’Isle Joyeuse were almost certainly drafted at this time, twinned and generally seen to be heavily influenced by personal dramas in the composer’s life. Following the attempted suicide of his first wife Lilly Texier, Masques might represent anguish at the Isle — Joyeuse describing the Emma Bardac c1900 elopement and love of the second, Emma Bardac. Roy Howat advances a plausible argument that d’Esquisses (from a sketchbook) serves just as well Debussy may have planned these three pieces to to complete this “second Suite Bergamasque”. form a suite similar to Images or Estampes; the first and third performed as a pair by Ricardo Viñes in In addition to thematic and rhythmic connections February 1905. While it is possible that a sarabande between the outer movements, they share the same tonal centre, with Masque's final mediant (C ) was destined for the interlude, d’un Cahier # 1 mutating naturally to the dominant of d’un Cahier the Société musicale indépendante, by no less a d’Esquisses; listen in particular to its final treble celebrity than Maurice Ravel. -
Acclaimed Pianist Angela Hewitt Joins the Vienna Tonkünstler Orchestra for Beethoven's Heroic 'Emperor Concerto'
PRESS RELEASE FOR IMMEDIATE USE Acclaimed pianist Angela Hewitt joins the Vienna Tonkünstler Orchestra for Beethoven’s heroic ‘Emperor Concerto’ Vienna Tonkünstler Orchestra with Angela Hewitt Sunday 28 Oct 2018, 7.30pm Usher Hall, Lothian Road, Edinburgh Bernstein: Three Dance Episodes from On the Town Beethoven: Piano Concerto No. 5 Sibelius: Symphony No. 5 Images available to download here Sibelius’s visionary Fifth Symphony, plus the musical heroism of Beethoven’s Emperor Concerto Following the opening concert from the Russian State Symphony Orchestra, the second concert in the Sunday Classics 2018-19 season sees the Vienna Tonkünstler Orchestra bring an evening of wonderfully varied music to the Usher Hall. Japanese conductor Yutaka Sado and his Orchestra open with musical heroes not often referenced in the Usher Hall: the three wide-eyed sailors on shore leave in Bernstein’s foot-tapping musical On the Town. His feel-good Three Dance Episodes blend jazz, big band and classical to electrifying effect – and feature Bernstein’s hit tune ‘New York, New York’. The remarkable Canadian pianist Angela Hewitt joins Orchestra and conductor for one of the most heroic piano concertos of them all. Beethoven’s noble Emperor Concerto was the composer’s last for the piano, and is cast on a grand scale, but its brilliant, breathtaking virtuosity melds effortlessly with tenderness and exquisite beauty. The piece is an ideal match for Hewitt’s fresh, elegant, powerful playing. Born into a musical family, Hewitt started her piano education at the age of three and has gone on to win awards and fans across the world. -
Narrative Expansion in the Trois Chansons De Bilitis
Debussy as Storyteller: Narrative Expansion In the Trois Chansons de Bilitis William Gibbons Every song cycle presents its audience with a narrative. Such an idea is hardly new; indeed, the idea of an unfolding plot or unifying concept (textual or musical) is central to the concept of the song cycle as opposed to a collection of songs, at least after the mid-nineteenth century.l A great deal of musico logical literature devoted to song cycles is aimed at demonstrating that they are cohesive wholes, often connected both musically, by means of key relationships, motivic recall, and similar techniques, and textually, by means of the creation of an overarching plot or concept.2 One type of narrative results from a poetic unit being set to music in its complete state, without alteration. I am interested here, however, in another type of narrative-one that unfolds when a composer chooses to link previously unrelated poems musically, or when a poetic cycle is altered by rearrangement of the songs or omission of one or more poems. This type of song cycle may create its own new narrative, distinct from its literary precursors. In an effort to demonstrate the internally cohesive qualities of these song cycles, typical analyses assume that the narrative is contained entirely within the musical cycle itself-that is, that it makes no external references. I do not mean to disparage this type of analysis, which often yields insight ful results; however, this approach ignores the audience's ability to make intertextual connections beyond the bounds of the song cycle at hand.