CLAUDE DEBUSSY | SEGMENT LIST © HNH International
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Music%2034.Syllabus
Music 34, Detailed Syllabus INTRODUCTION—January 24 (M) “Half-step over-saturation”—Richard Strauss Music: Salome (scene 1), Morgan 9 Additional reading: Richard Taruskin, The Oxford History of Western Music, vol. 4 (henceforth RT), (see Reader) 36-48 Musical vocabulary: Tristan progression, augmented chords, 9th chords, semitonal expansion/contraction, master array Recommended listening: more of Salome Recommended reading: Derrick Puffett, Richard Strauss Salome. Cambridge Opera Handbooks (Cambridge, New York: Cambridge University Press, 1989) No sections in first week UNIT 1—Jan. 26 (W); Jan. 31 (M) “Half-steplessness”—Debussy Music: Estampes, No. 2 (La Soiré dans Grenade), Morgan 1; “Nuages” from Three Nocturnes (Anthology), “Voiles” from Preludes I (Anthology) Reading: RT 69-83 Musical vocabulary: whole-tone scales, pentatonic scales, parallelism, whole-tone chord, pentatonic chords, center of gravity/symmetry Recommended listening: Three Noctures SECTIONS start UNIT 2—Feb. 2 (W); Feb. 7 (M) “Invariance”—Skryabin Music: Prelude, Op. 35, No. 3; Etude, Op. 56, No. 4, Prelude Op. 74, No. 3, Morgan 21-25. Reading: RT 197-227 Vocabulary: French6; altered chords; Skryabin6; tritone link; “Ecstasy chord,” “Mystic chord”, octatonicism (I) Recommended reading: Taruskin, “Scriabin and the Superhuman,” in Defining Russia Musically: Historical and Hermeneutical Essays (Princeton: Princeton University Press, 1997), 308-359 Recommended listening: Poème d’extase; Alexander Krein, Sonata for Piano UNIT 3—Feb. 9 (W); Feb. 14 (M) “Grundgestalt”—Schoenberg I Music: Opus 16, No. 1, No. 5, Morgan 30-45. Reading: RT 321-337, 341-343; Simms: The Atonal Music of Arnold Schoenberg 1908-1923 (excerpt) Vocabulary: atonal triads, set theory, Grundgestalt, “Aschbeg” set, organicism, Klangfarben melodie Recommended reading: Móricz, “Anxiety, Abstraction, and Schoenberg’s Gestures of Fear,” in Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, ed. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Download Booklet
552127-28bk VBO Debussy 10/2/06 8:40 PM Page 8 CD1 1 Nocturnes II. Fêtes . .. 6:56 2 String Quartet No. 1 in G minor, Op. 10 I. Animé et très décidé . 6:11 3 Prélude à l’après-midi d’un faune . 10:29 4 Estampes III. Jardins sous la pluie . 3:43 5 Cello Sonata in D minor I. Prologue . 4:25 6 Suite bergamasque III. Clair de lune . 4:26 7 Violin Sonata in G minor II. Intermède: fantastique et léger . 4:17 8 24 Préludes No. 8. La fille aux cheveux de lin . 2:14 9 La Mer II. Jeux de vagues . 7:29 0 Pelléas et Melisande Act III Scene 1 . 14:22 ! 24 Préludes No. 12. Minstrels . 2:05 @ Rapsodie arabe for Alto Saxophone and Orchestra . 10:50 Total Timing . 78:00 CD2 1 Images II. Iberia . 21:43 2 24 Préludes No. 10. La cathédrale engloutie . 5:47 3 Marche écossaise sur un thème populaire . 6:10 4 Images I I. Reflets dans l’eau . 5:15 5 Rêverie . 3:50 6 L’isle joyeuse . 5:29 7 La Mer I. De l’aube à midi sur la mer . 9:18 8 La plus que lente . 4:44 9 Danse sacrée et danse profane II. Danse profane . 5:16 0 Two Arabesques Arabesque No. 1 . 5:05 ! Children’s Corner VI. Golliwogg’s Cake-walk . 3:09 Total Timing . 76:17 FOR FULL LIST OF DEBUSSY RECORDINGS WITH ARTIST DETAILS AND FOR A GLOSSARY OF MUSICAL TERMS PLEASE GO TO WWW.NAXOS.COM 552127-28bk VBO Debussy 10/2/06 8:40 PM Page 2 CLAUDE DEBUSSY (1862-1918) Children’s Corner VI. -
Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
1J131J Alexander Boggs Ryan,, Jr., B
omit THE PIANO STYLE OF CLAUDE DEBUSSY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by 1J131J Alexander Boggs Ryan,, Jr., B. M. Longview, Texas June, 1951 19139 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . , . iv Chapter I. THE DEVELOPMENT OF THE PIANO AS AN INFLUENCE ON STYLE . , . , . , . , . , . ., , , 1 II. DEBUSSY'S GENERAL MUSICAL STYLE . IS Melody Harmony Non--Harmonic Tones Rhythm III. INFLUENCES ON DEBUSSY'S PIANO WORKS . 56 APPENDIX (CHRONOLOGICAL LIST 0F DEBUSSY'S COMPLETE WORKS FOR PIANO) . , , 9 9 0 , 0 , 9 , , 9 ,9 71 BIBLIOGRAPHY *0 * * 0* '. * 9 9 9 9 9 9 9 9 9 9 .9 76 111 LIST OF ILLUSTRATIONS Figure Page 1. Range of the piano . 2 2. Range of Beethoven Sonata 10, No.*. 3 . 9 3. Range of Beethoven Sonata .2. 111 . , . 9 4. Beethoven PR. 110, first movement, mm, 25-27 . 10 5. Chopin Nocturne in D Flat,._. 27,, No. 2 . 11 6. Field Nocturne No. 5 in B FlatMjodr . #.. 12 7. Chopin Nocturne,-Pp. 32, No. 2 . 13 8. Chopin Andante Spianato,,O . 22, mm. 41-42 . 13 9. An example of "thick technique" as found in the Chopin Fantaisie in F minor, 2. 49, mm. 99-101 -0 --9 -- 0 - 0 - .0 .. 0 . 15 10. Debussy Clair de lune, mm. 1-4. 23 11. Chopin Berceuse, OR. 51, mm. 1-4 . 24 12., Debussy La terrasse des audiences du clair de lune, mm. 32-34 . 25 13, Wagner Tristan und Isolde, Prelude to Act I, . -
Liner Notes (PDF)
Debussy’s Traces Gaillard • Horszowski • Debussy Marik • Fourneau 1904 – 1983 Debussy’s Traces: Marius François Gaillard, CD II: Marik, Ranck, Horszowski, Garden, Debussy, Fourneau 1. Preludes, Book I: La Cathédrale engloutie 4:55 2. Preludes, Book I: Minstrels 1:57 CD I: 3. Preludes, Book II: La puerta del Vino 3:10 Marius-François Gaillard: 4. Preludes, Book II: Général Lavine 2:13 1. Valse Romantique 3:30 5. Preludes, Book II: Ondine 3:03 2. Arabesque no. 1 3:00 6. Preludes, Book II Homage à S. Pickwick, Esq. 2:39 3. Arabesque no. 2 2:34 7. Estampes: Pagodes 3:56 4. Ballade 5:20 8. Estampes: La soirée dans Grenade 4:49 5. Mazurka 2:52 Irén Marik: 6. Suite Bergamasque: Prélude 3:31 9. Preludes, Book I: Des pas sur la neige 3:10 7. Suite Bergamasque: Menuet 4:53 10. Preludes, Book II: Les fées sont d’exquises danseuses 8. Suite Bergamasque: Clair de lune 4:07 3:03 9. Pour le Piano: Prélude 3:47 Mieczysław Horszowski: Childrens Corner Suite: 10. Pour le Piano: Sarabande 5:08 11. Doctor Gradus ad Parnassum 2:48 11. Pour le Piano: Toccata 3:53 12. Jimbo’s lullaby 3:16 12. Masques 5:15 13 Serenade of the Doll 2:52 13. Estampes: Pagodes 3:49 14. The snow is dancing 3:01 14. Estampes: La soirée dans Grenade 3:53 15. The little Shepherd 2:16 15. Estampes: Jardins sous la pluie 3:27 16. Golliwog’s Cake walk 3:07 16. Images, Book I: Reflets dans l’eau 4:01 Mary Garden & Claude Debussy: Ariettes oubliées: 17. -
Hèléne Grimaud, Piano Program Notes Berio
Hèléne Grimaud, piano Program Notes Berio: Wasserklavier from Six Encores Wasserklavier (Water Piano, 1965) by Italian composer Luciano Berio (1925-2003) serves as a graceful dive into a diverse program of pieces all about water. Like many of Berio’s works, it references music from the past. Here, motifs from Brahms mix with hints of Schubert. Even as the music reaches ever higher toward the quiet climax—the entire piece is incredibly quiet—a repeated, descending motif drips downward, and the ending is left intentionally ambiguous. Liszt: St François de Paule marchant sur les flots Les Jeux d'eau à la Villa d'Este Though he made a name for himself as a demonically virtuosic pianist, late in life Franz Liszt (1811-1886) retreated into his Catholic faith. He spent two years living in a monastery outside Rome, where Pope Pius IX visited him and performed a Bellini aria with Liszt accompanying at the piano. Liszt in turn premiered for the Pontiff his recent religiously inspired work, St. Francis of Paola Walking on the Waters (1863). Legend has it that St. Francis of Paola, Liszt’s patron saint, was turned away trying to cross the Straits of Messina, for want of the fare. “If he is a saint, let him walk,” declared the scornful boatman. So St. Francis lifted up his cloak, which lofted like a sail and bore him safely to the other side. The surging waters roil in the left hand underneath a hymn-like theme that represents the saint. As a stately, solemn conclusion, Liszt quotes a passage from a choral work he had written also as a devotion to the saint, reusing music that sets the words “O let us preserve Love whole.” The composer explained that the story and his musical setting are meant to extol “the law of faith, which governs the laws of nature.” In 1867, Liszt accepted an invitation from a Roman Cardinal to visit the Villa d’Este, a 16th- century palace some twelve miles from Rome, perched on the site of a former Benedictine monastery. -
HOLLOWAY/DEBUSSY EN BLANC ET NOIR Thursday, March 11, Marks the World Premiere of an Orchestration by Robin Holloway of Claude Debussy’S En Blanc Et Noir
March 2004 TILSON THOMAS LEADS SAN FRANCISCO SYMPHONY IN PREMIERE OF HOLLOWAY/DEBUSSY EN BLANC ET NOIR Thursday, March 11, marks the world premiere of an orchestration by Robin Holloway of Claude Debussy’s En blanc et noir. Michael Tilson Thomas leads the San Francisco Symphony at Davies Symphony Hall; the program is repeated on March 12 and 13. En blanc et noir will be performed by the San Francisco Symphony on tour in Kansas City (3/16), Cleveland (3/18), New York (3/23 at Carnegie Hall), Philadelphia (3/24), and Newark (3/26). loyal and persuasive The San Francisco Symphony has consistently championed Holloway’s advocates music. In addition to commissioning En blanc et noir, the ensemble has commissioned and premiered Holloway’s Clarissa Sequence (1998), and given the American premieres of his Viola Concerto and Third Concerto for Orchestra. En blanc et noir, originally composed for piano duo in 1915, is a product of Debussy’s late period, marked by an austere beauty that stands in contrast to the lushness of better-known, earlier works such as Prelude to the Afternoon of a Faun, La Mer, and the Nocturnes. In orchestrating En blanc et noir, Holloway hopes to bring this seldom performed three-movement work to a wider audience. black and white, As program annotator Michael Steinberg points out, Holloway is in color acutely aware of the irony of coloring a work whose title specifi- cally calls attention to the black-and-whiteness of the piano key- board. Early in 1916, Debussy wrote to his friend Robert Godet: “These pieces draw their color, their emotion, simply from the piano, like the ‘grays’ of Velasquez, if I may so suggest?” Holloway conceives of his orchestration as an “opening out” of the music’s physical resonance, almost as though this were the freeing of a piece that has yearned to be an orchestral work all along. -
1) Aspects of the Musical Careers of Grieg, Debussy and Ravel
Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists. -
Susan Merdinger Repertoire List 07.01.19 Copy.Pages
SUSAN MERDINGER, Pianist and Conductor: Repertoire (2019) CONCERTOS and WORKS for PIANO(S) and ORCHESTRA: AS SOLOIST. (Additional concerti available upon request.** indicates performed with within last 5 years) Albeniz: Rapsodia Espanola, Op. 70 (Two Pianos) ** Anderson: Piano Concerto in C major Bach-Vivaldi: Concerto for Four Pianos and String Orchestra (Piano 1)** Beethoven: All Five Concerti- Op. 15, Op.19, Op.37, Op. 73 (The “Emperor”) Triple Concerto for Piano, Violin, and Cello ** Bloch: Concerto Grosso for Piano and Strings ** Brahms: No.1 in d minor, Op. 15 No. 2 in B-flat major, Op. 83** Franck: Symphonic Variations** Lutoslawski: Variations on a Theme by Paganini Mozart: K.365 (Two Pianos)**, A major K. 414, G major K. 453, D minor K. 466, C major K.467**, A major K.488, C major K.503** Mendelssohn: Concerto No. 1 in g minor Concerto No. 2 in d minor Gershwin: Rhapsody in Blue ** Gottschalk: L’Union**, Grande Tarantella ** Rachmaninoff: Concerto No. 2 in c minor Rhapsody on Theme of Paganini Schumann: Concerto in a, Op.54 ** Saint-Saëns: Carnival of the Animals (Two Pianos) ** Saint-Saëns: Concerto No. 2 in g minor Tchaikovsky: No.1 in B-flat minor, Op.23 ** Liszt: No. 1 in E-flat ** Poulenc: Concerto for Two Pianos ** SOLO PIANO: SELECTED WORKS PERFORMED LIVE: (Bolded works are available on CD recording- many works available in live video format on YouTube) Aaron Alter: Piano Sonata (2012-2018) dedicated to Susan Merdinger (USA premieres in November 2018) Albéniz: Suite Española, Op. 47 J.S. Bach: French Suite No. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
2017 Preview Notes • Week Four • Persons Auditorium
2017 Preview Notes • Week Four • Persons Auditorium Saturday, August 5 at 8:00pm En blanc et noir (1915) Claude Debussy Born August 22, 1862 • Died March 25, 1918 Duration: approx. 15 minutes • Marlboro Premiere Denounced by Saint-Saëns as the aural equivalent of Cubist artwork, this piano duet indeed renders familiar subjects in unexpected and fragmented ways. Each movement is dedicated to a different person and paired with an epigraph, and that the richness of the written music, accompanying texts, and piano keys themselves—all black and white—contribute to the many colors of the piece is one example of Debussy’s wit. The first movement, a reimagined waltz, is dedicated to Serge Koussevitzky, who is remembered as a great champion of contemporary music. The second movement’s suggestion of distant bugle calls laced with quotations from the hymn “Ein Feste Burg ist unser Gott” is a haunting homage to Debussy’s friend Jacques Charlot, who perished in WWI. The work concludes with a rippling scherzando dedicated to Igor Stravinsky. Participants: Xiaohui Yang, piano; Cynthia Raim, piano Voices of Angels (1996) Brett Dean, in-residence 2017 Born October 23, 1961 Duration: approx. 25 minutes • Marlboro Premiere Brett Dean is no stranger to working with great literary texts, having just premiered his second opera, Hamlet, this summer at Glyndebourne. Like the Debussy, this piece is prefaced by an epigraph. Dean quotes the first of Rilke’s ten Duino Elegies: “Angels (it’s said) are often unable to tell whether they move/amongst the living or the dead. An eternal current/hurtles all ages through both realms for ever, and drowns out their voices in both.” As the elegy questions the conventional distinctions between beauty and terror, life and the afterlife, myth and reality, so does Dean’s composition introduce a range of seemingly contradictory perspectives.