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Keyboard Music
Prairie View A&M University HenryMusic Library 5/18/2011 KEYBOARD CD 21 The Women’s Philharmonic Angela Cheng, piano Gillian Benet, harp Jo Ann Falletta, conductor Ouverture (Fanny Mendelssohn) Piano Concerto in a minor, Op. 7 (Clara Schumann) Concertino for Harp and Orchestra (Germaine Tailleferre) D’un Soir Triste (Lili Boulanger) D’un Matin de Printemps (Boulanger) CD 23 Pictures for Piano and Percussion Duo Vivace Sonate für Marimba and Klavier (Peter Tanner) Sonatine für drei Pauken und Klavier (Alexander Tscherepnin) Duettino für Vibraphon und Klavier, Op. 82b (Berthold Hummel) The Flea Market—Twelve Little Musical Pictures for Percussion and Piano (Yvonne Desportes) Cross Corners (George Hamilton Green) The Whistler (Green) CD 25 Kaleidoscope—Music by African-American Women Helen Walker-Hill, piano Gregory Walker, violin Sonata (Irene Britton Smith) Three Pieces for Violin and Piano (Dorothy Rudd Moore) Prelude for Piano (Julia Perry) Spring Intermezzo (from Four Seasonal Sketches) (Betty Jackson King) Troubled Water (Margaret Bonds) Pulsations (Lettie Beckon Alston) Before I’d Be a Slave (Undine Smith Moore) Five Interludes (Rachel Eubanks) I. Moderato V. Larghetto Portraits in jazz (Valerie Capers) XII. Cool-Trane VII. Billie’s Song A Summer Day (Lena Johnson McLIn) Etude No. 2 (Regina Harris Baiocchi) Blues Dialogues (Dolores White) Negro Dance, Op. 25 No. 1 (Nora Douglas Holt) Fantasie Negre (Florence Price) CD 29 Riches and Rags Nancy Fierro, piano II Sonata for the Piano (Grazyna Bacewicz) Nocturne in B flat Major (Maria Agata Szymanowska) Nocturne in A flat Major (Szymanowska) Mazurka No. 19 in C Major (Szymanowska) Mazurka No. 8 in D Major (Szymanowska) Mazurka No. -
Jeudi 3 Juin 2021
ALDE jeudi 3 juin 2021 Musiques Archives et collection Jacques et Dominique Chailley 113 Expert François Roulmann 12 rue Beautreillis 75004 Paris 01 71 60 88 67 - 06 60 62 98 03 [email protected] Exposition à la Librairie Giraud-Badin à partir du lundi 19 avril de 9 h à 13 h et de 14 h à 18 h Sommaire À divers, en ordre chronologique de parution, de 1650 à 1978. nos 1 à 84 Archives Jacques Chailley. Collection musicale enrichie par son fils. nos 85 à 94 Collection musicale Jacques Chailley enrichie par son fils. Partitions et livres de théorie et d’histoire musicale avant 1800. nos 95 à 111 Motets, cantates, Noëls, airs, poësies et chansons... nos 112 à 125 Ouvrages et partitions romantiques, documentation jusqu’en 1914. nos 126 à 140 Partitions modernes, souvent dédicacées à Jacques Chailley. nos 141 à 162 Conditions de vente consultables sur www.alde.fr Honoraires de vente : 25% TTC En couverture : Lot n°12 et lot n°91. ALDE Maison de ventes spécialisée Livres - Autographes - Monnaies Musiques Archives et collection Jacques et Dominique Chailley 113 Vente aux enchères publiques Expert François Roulmann Jeudi 3 juin 2021 à 14 h 12 rue Beautreillis 75004 Paris 01 71 60 88 67 - 06 60 62 98 03 [email protected] Librairie Giraud-Badin 22, rue Guynemer 75006 Paris Tél. 01 45 48 30 58 Exposition à la Librairie Giraud-Badin à partir du lundi 19 avril de 9 h à 13 h et de 14 h à 18 h Commissaire-Priseur Sommaire Jérôme Delcamp À divers, en ordre chronologique de parution, de 1650 à 1978. -
Things Seen on Right and Left Erik Satie
image A Derain Art & Heritage Collections Jack in the Box Projet de costume pour une danseuse, 1926 Cultural Musing Cabinet 8 31 Alfred Frueh Portrait of Erik Satie Rare Books & Special Collections in collaboration with the J M Coetzee Erik Satie, Socrates Postcard, Paris 1920 Centre for Creative Practice and Art & Heritage Collections present: and John Cage Printed on card, 14 x 9 cm In the years after the First World War, Satie’s Alfred (‘Al’) Frueh (1880 – 1968) was an style moved towards what was to become known American cartoonist and caricaturist. He studied Things seen on right and left as neo-classicism. Although his reputation was in Paris from 1909 to 1924, contributing regularly based on his humorous works, Satie’s later music to the New York World, and to New Yorker from Erik Satie in words, pictures and music sometimes has a more serious character. His neo- 1925 onwards. This portrait comes from the year classical masterpiece is the ‘symphonic drama’ that Socrate was premiered. Socrate (Socrates). Following his death in 1925, Exhibition 32 Erik Satie Marche de Cocagne. Satie’s music fell into neglect until the 1950s For three trumpets in C Level 1 & 3, Barr Smith Library when there was a revival of interest in his music Reproduction of Satie’s manuscript as in the United States, particularly due to advocacy frontispiece to Almanach de Cocagne, 9 June until 24 July 2011 of the composer John Cage. Editions de la Sirène, Paris 1920 29 Erik Satie Socrate, Symphonic Drama in 223 pages, original soft cover, 11 x 16.5 cm three parts for piano and voice, composed for the Almanach de Cocagne was an annual performances of Princess Edmond de Polignac. -
Nicolas Horvath Erik Satie (1866-1925) Intégrale De La Musique Pour Piano • 2 Nouvelle Édition Salabert
SATIE INTÉGRALE DE LA MUSIQUE POUR PIANO • 2 NOUVELLE ÉDITION SALABERT LE FILS DES ÉTOILES NICOLAS HORVATH ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • 2 NOUVELLE ÉDITION SALABERT LE FILS DES ÉTOILES NICOLAS HORVATH, Piano Numéro de catalogue : GP762 Date d’enregistrement : 10 décembre 2014 Lieu d’enregistrement : Villa Bossi, Bodio, Italie Publishers: Durand/Salabert/Eschig 2016 Edition Piano : Érard de Cosima Wagner, modèle 55613, année 1881 Producteur et Éditeur : Alexis Guerbas (Les Rouages) Ingénieur du son : Ermanno De Stefani Rédaction du livret : Robert Orledge Traduction française : Nicolas Horvath Photographies de l’artiste : Laszlo Horvath Portrait du compositeur : Paul Signac, (c. 1890, Crayon Conté on paper) © Musée d’Orsay, Paris Cover Art: Sigrid Osa L’artiste tient à remercier sincèrement Ornella Volta et la Fondation Erik Satie. 2 LE FILS DES ÉTOILES (?1891) * 73:56 1 Prélude de l’Acte 1 – La Vocation 03:53 2 Autre musique pour le Premier Acte 21:28 3 Prélude de l’Acte 2 – L’Initiation 03:25 4 Autre musique pour le Deuxième Acte 20:59 5 Prélude de l’Acte 3 – L’Incantation 05:10 6 Autre musique pour le Troisième Acte 18:38 7 FÊTE DONNÉE PAR DES CHEVALIERS NORMANDS EN L’HONNEUR D’UNE JEUNE DEMOISELLE (XIe SIÈCLE) (1892) 03:08 * PREMIER ENREGISTREMENT MONDIAL DURÉE TOTALE: 77:10 DE LA VERSION RÉVISÉE PAR ROBERT ORLEDGE 3 ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • NOUVELLE ÉDITION SALABERT À PROPOS DE NICOLAS HORVATH ET DE LA NOUVELLE ÉDITION SALABERT DES « ŒUVRES POUR PIANO » DE SATIE. En 2014, j’ai été contacté (en tant que professeur de musicologie spécialiste de Satie) par Nicolas Horvath, un jeune pianiste français de renommée internationale, à propos d’un projet d’enregistrement des œuvres complètes pour piano. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
SATIE Gymnopédies
1000 YEARS OF CLASSICAL MUSIC SATIE Gymnopédies VOLUME 74 | THE MODERN ERA FAST FACTS • Erik Satie is famous for his deeply eccentric nature, which extended to his dress (at one point he bought seven identical velvet suits and then, for more than ten years, wore nothing else), his eating habits (he claimed to eat only white food: ‘eggs, sugar, shredded bones, the fat of dead animals, veal, salt, coconuts, SATIE chicken cooked in white water, mouldy fruit, rice, turnips, sausages in camphor, pastry, cheese (white Gymnopédies varieties), cotton salad, and certain kinds of fish, without their skin’), and the instructions he gave to those performing his music: his scores are full of enigmatic notes such as ‘Light as an egg’, ‘Open your head’, ERIK SATIE 1866–1925 ‘Work it out yourself’ and ‘Don’t eat too much’. Trois Gymnopédies [9’44] 1 No. 1: Lent et douloureux (Slow and full of suffering) 3’37 • His sharp wit, irreverence and refusal to do as expected led him to reject the big, lush Romantic 2 No. 2: Lent et triste (Slow and sad) 3’06 tradition of composers like Wagner, and turn instead to shorter, simpler pieces in which melody was 3 No. 3: Lent et grave (Slow and solemn) 2’54 the central element. 4 Je te veux (I Want You) 5’17 • Satie broke new ground in many different musical ways. His familiarity with the world of cabaret (he [7’16] Trois Gnossiennes supported himself for several years by working as a pianist at Le Chat Noir and other Montmartre 5 No. -
Nietzsche, Debussy, and the Shadow of Wagner
NIETZSCHE, DEBUSSY, AND THE SHADOW OF WAGNER A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Tekla B. Babyak May 2014 ©2014 Tekla B. Babyak ii ABSTRACT NIETZSCHE, DEBUSSY, AND THE SHADOW OF WAGNER Tekla B. Babyak, Ph.D. Cornell University 2014 Debussy was an ardent nationalist who sought to purge all German (especially Wagnerian) stylistic features from his music. He claimed that he wanted his music to express his French identity. Much of his music, however, is saturated with markers of exoticism. My dissertation explores the relationship between his interest in musical exoticism and his anti-Wagnerian nationalism. I argue that he used exotic markers as a nationalistic reaction against Wagner. He perceived these markers as symbols of French identity. By the time that he started writing exotic music, in the 1890’s, exoticism was a deeply entrenched tradition in French musical culture. Many 19th-century French composers, including Felicien David, Bizet, Massenet, and Saint-Saëns, founded this tradition of musical exoticism and established a lexicon of exotic markers, such as modality, static harmonies, descending chromatic lines and pentatonicism. Through incorporating these markers into his musical style, Debussy gives his music a French nationalistic stamp. I argue that the German philosopher Nietzsche shaped Debussy’s nationalistic attitude toward musical exoticism. In 1888, Nietzsche asserted that Bizet’s musical exoticism was an effective antidote to Wagner. Nietzsche wrote that music should be “Mediterranized,” a dictum that became extremely famous in fin-de-siècle France. -
Piano Works Uspud • Le Fils Des Étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works
SATIE Piano Works Uspud • Le Fils des étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works 1 Allegro (1884) 0:21 & Tendrement (version for piano) (1902) 3:59 While the world of music composition has attracted some borrowings and stylistic fusions. Leit-motiv du ‘Panthée’ is 2 Leit-motiv du ‘Panthée’ (1891) 0:45 Le Fils des étoiles: 3 Preludes (1891) 13:34 ‘colourful characters’, from Mozart’s vulgar letters and cat the composer’s only monodic composition, written as a 3 Verset laïque et somptueux (1900) 1:27 * Act I: Prélude, ‘La Vocation’ 4:39 impressions to Peter Warlock’s ultimately fatal interest in contribution to Joséphin Péladan’s novel Panthée (in his ( witchcraft and sadism, surely the greatest eccentric of cycle La Décadence latine: éthopée). With its unpredictable 4 Fugue-valse (1906) 1:59 Act II: Prélude, ‘L’Initiation’ 3:51 ) Act III: Prélude, ‘L’Incantation’ 4:57 them all is the Parisian, Erik Satie (1866–1925). Always harmonic shifts, Verset laïque & somptueux seems to Cinq Grimaces pour Le Songe d’une nuit d’été appearing in one of seven identical suits, Satie would eat inhabit the world of Debussy’s more reflective piano works, (arr. Darius Milhaud for piano) (1915) 3:57 Sonatine bureaucratique (1917) 4:25 ¡ only white food, carried a hammer with him to defend though the same could not be said of the relatively 5 No. 1. Préambule 0:50 I. Allegro 1:08 ™ II. Andante 1:20 himself from any assailants, and even founded his own extensive and bizarre Fugue-Valse (surely the sole attempt 6 No. -
Picasso and Music FRANZ LISZT
Picasso and music FRANZ LISZT GUITARES GITANES MANUEL DE FALLA 1 | Fandango, El Malagueño 4’08 El amor brujo (ballet) (1919-25) 9 | Canción del amor dolido. Allegro 1’30 JOAQUÍN RODRIGO (1901-1999) 10 | Danza ritual del fuego. Allegro ma non troppo e pesante 5’08 11 | Canción del fuego fatuo. Vivo 1’47 Concierto de Aranjuez (1934, orch. 1939) Marina Heredia, cantaora (9 & 11) 2 | II. Adagio 12’04 Mahler Chamber Orchestra, Pablo Heras-Casado Fantasía para un gentilhombre (1954) © Chester Music Ltd / Bureau de Musique Mario Bois BMB 3 | Españoleta 5’08 Marco Socias, guitare Orquestra de Cambra Teatre Lliure, Josep Pons IGOR STRAVINSKY Pulcinella (ballet), suite d’orchestre (1922, version révisée de 1949) © Music Schott 12 | Tarantella. Toccata 2’07 Orquestra de Cambra Teatre Lliure, Josep Pons MANUEL DE FALLA (1876-1946) © Boosey and Hawkes Ltd 4 | Canción (1900), Andante mesto 2’19 5 | Serenata andaluza (1900), Allegretto 5’30 DARIUS MILHAUD (1892-1974) Javier Perianes, piano Scaramouche (transcription pour clarinette et piano) (1937) © Manuel de Falla Ediciones 13 | I. Vif 2’58 Ronald van Spaendonck, clarinette PABLO DE SARASATE (1844-1908) Alexandre Tharaud, piano 6 | Fantaisie de concert sur des thèmes de Carmen, op. 25 (c. 1883) 13’06 © Éditions Salabert Graf Mourja, violon Natalia Gous, piano CLAUDE DEBUSSY (1862-1918) IGOR STRAVINSKY (1882-1971) 14 | Masques (1903-1904), Très vif et fantasque 4’51 Alain Planès, piano Suite no 1 pour petit orchestre (1917, orch. 1925) 7 | Española 1’08 ERIK SATIE (1866-1925) Orquestra de Cambra Teatre Lliure, Josep Pons 15 | Les pantins dansent (1929) 1’41 © Chester Music Ltd Alexandre Tharaud, piano ENRIQUE GRANADOS (1867-1916) Goyescas (1913-1915) 8 | Final del Fandango 3’19 BBC Symphony Orchestra & Singers, Josep Pons © Tritó Edicions / Albert Guinovard, revision Cette sélection musicale a été librement inspirée de l’exposition “Les Musiques de Picasso” produite par le Musée de la musique - Philharmonie de Paris en 2020. -
Nicolas Horvath Erik Satie (1866-1925) Intégrale De La Musique Pour Piano • 3 Nouvelle Édition Salabert
comprenant DES PREMIERS ENREGISTREMENTS MONDIAUX SATIE INTÉGRALE DE LA MUSIQUE POUR PIANO • 3 NOUVELLE ÉDITION SALABERT NICOLAS HORVATH ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • 3 NOUVELLE ÉDITION SALABERT NICOLAS HORVATH, Piano Numéro de catalogue : GP763 Date d’enregistrement : 11 décembre 2014 Lieu d’enregistrement : Villa Bossi, Bodio, Italie Publishers: Durand/Salabert/Eschig 2016 Edition Piano : Érard de Cosima Wagner, modèle 55613, année 1881 Producteur et Éditeur : Alexis Guerbas (Les Rouages) Ingénieur du son : Ermanno De Stefani Rédaction du livret : Robert Orledge Traduction française : Nicolas Horvath Photographies de l’artiste : Laszlo Horvath Portrait du compositeur : Santiago Rusiñol Una romanza ©MNAC Couverture : Sigrid Osa L’artiste tient à remercier sincèrement Ornella Volta et la Fondation Erik Satie. 2 1 PRÉLUDE DU NAZARÉEN [EN DEUX PARTIES] ** 10:23 uspud – ballet chrétien en trois actes ** 23:53 2 Acte 1 09:33 3 Acte 2 06:20 4 Acte 3 07:53 5 EGINHARD. PRÉLUDE 02:04 6 DANSES GOTHIQUES ** 10:34 7 VEXATIONS 07:01 8 SANS TITRE, PEUT-ÊTRE POUR LA MESSE DES PAUVRES, [MODÉRÉ] 01:04 9 PRÉLUDE DE « LA PORTE HÉROÏQUE DU CIEL » ** 04:50 0 GNOSSIENNE [N° 6] 02:17 ! SANS TITRE, ?GNOSSIENNE [PETITE OUVERTURE À DANSER] ** 02:09 PIÈCES FROIDES : AIRS À FAIRE FUIR 10:00 @ D’une manière très particulière 04:30 # Modestement 01:09 $ S’inviter ** 04:19 % AIRS À FAIRE FUIR N° 2 (version plus chromatique) * 00:26 PIÈCES FROIDES : DANSES DE TRAVERS ** 06:25 ^ En y regardant à deux fois 02:02 & Passer 01:44 * Encore 02:37 ( DANSE DE TRAVERS II ** 03:12 * PREMIER ENREGISTREMENT MONDIAL DURÉE TOTALE: 85:03 ** PREMIER ENREGISTREMENT MONDIAL DE LA VERSION RÉVISÉE PAR ROBERT ORLEDGE 3 ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • 3 NOUVELLE ÉDITION SALABERT À PROPOS DE NICOLAS HORVATH ET DE LA NOUVELLE ÉDITION SALABERT DES « ŒUVRES POUR PIANO » DE SATIE. -
Erik Satie Bruno Fontaine Erik Satie (1866-1925)
Erik Satie Bruno Fontaine Erik Satie (1866-1925) Trois Gymnopédies Avant-dernières pensées 1. Gymnopédie no 1 3’25 22. Idylle 1’03 2. Gymnopédie no 2 2’42 23. Aubade 1’13 3. Gymnopédie no 3 2’33 24. Méditation 0’49 Enregistré les 17 et 18 juin 2015 au studio 4’33 (Ivry-sur-Seine, France) Pièces froides Nocturnes Avant toute chose, merci à Nicolas Bartholomée, pour m’avoir proposé de retrouver cet ancien compagnon- nage avec Erik Satie, une familiarité née de l’aventure théâtrale partagée avec mon cher Jean Rochefort. 25. Nocturne no 1 (Doux et calme) 3’48 Merci à l’équipe d’Aparté, Emmanuelle Gonet, Emmanuel Chollet, Ignace Hauville et Florian Bonifay, I. Airs à faire fuir 26. Nocturne no 2 (Simplement) 2’23 pour leur confiance renouvelée. 4. D’une manière très particulière 3’19 27. Nocturne no 3 Merci à Maximilien Ciup pour sa complicité artistique et attentive. 5. Modestement 1’46 (Un peu mouvementé) 3’46 Merci à Pierre Malbos, pour la superbe préparation du CFX Yamaha, et pour le plaisir que j’ai eu à enre- 6. S’inviter 3’06 28. Nocturne no 4 2’28 gistrer dans son studio 4’33. Merci à Caroline Doutre, pour la joyeuse promenade photographique à travers Montmartre. 29. Nocturne no 5 2’26 Merci à Jean-Hugues Allard pour son amitié et son soutien infaillible. II. Danse de travers Je dédie cet enregistrement, affectueusement à ma mère, Berny… 7. En y regardant à deux fois 1’44 Sept Gnossiennes Et puis, pour Françoise… de toute évidence… 8.