Ernest Guiraud, Friends, and Students
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DUKAS phonic poem.) Guiraud provided the musi- Fanfare, from La Péri cal settings for the spoken dialogue (recita- Paul Dukas (1865–1935) tives), which have been part of the tradition Fanfare, from La Péri* Paul Dukas (1865-1935) is best remem- of Carmen since 1875. Three years earlier, in bered, thanks to the 1940 Disney animat- 1872, Bizet composed incidental music for ed film Fantasia, for The Sorcerer’s Apprentice. Alfred Daudet’s play L’Arlésienne. There were Georges Bizet (1838–1875) Nonetheless, Dukas composed other worthy, 27 separate musical numbers for the play, Pastorale, First movement of L’Arlésienne suite no. 2 though less famous works. La Péri (1911- and Bizet created a suite of some of them 12) is a ballet based upon an ancient Persian for orchestra. After Bizet’s death, Guiraud Claude Debussy (1862–1918) legend. Alexander the Great (Iskender in the concocted a second suite from the remain- Petite suite: En bateau. Cortège. Ballet. original) finds a flower of immortality in ing sections of the incidental music. Like all the clenched hand of a sleeping péri – a fairy. of Bizet, the music is delightful and moving, Jacques Offenbach (1819–1880) The ballet opens with a somber and stately overpowering in its charm and energy, and Intermezzo and Barcarolle, from Les contes d’Hoffmann brass fanfare. This fanfare is the essence of always thrilling to hear. the score, and the ballet ends with a transfig- Ernest Guiraud (1837–1892) ured statement of the opening, played by the muted horns. DEBUSSY First movement, from Caprice pour violin Petite suite Joan Kwuon, violin Carnaval, from Suite d’orchestre BIZET Claude Debussy’s (1862-1918) Petite suite Pastorale, First movement of dates from 1907 and was originally com- Georges Bizet L’Arlésienne suite no. 2 posed as a piano duet. It also exists in an Farandole, from L’Arlésienne suite no. 2 orchestral transcription by Henri Büsser, a Georges Bizet (1838–1875) died immedi- friend of the composer. The movements are ately after the ill-fated premiere of Carmen. lightly scored for woodwinds in pairs, harp, Like Debussy, a generation later, Bizet never triangle, cymbals, and strings. Listen for the visited Spain, yet both were able to create a darkly colored and exotic English horn in the Conducted by Carlos Miguel Prieto, * stunning aural image of that country that is second movement and for the brilliant high Music Director, Louisiana Philharmonic Orchestra, iconic. (For example, think of the “Toreador piccolo at the end. Echoes of the populist and recorded on May 16, 2007. Song” and Debussy’s three-part Iberia sym- styles of Faure, Bizet, Massenet, and Chabri- er add coloristic flavors to this delectable he studied at the Paris Conservatory. He was within a restrained Romantic spirit. trated and had published in 1879, four years work, providing a spirit of joie de vivre. a well-respected composer and teacher in his Guiraud’s Caprice pour violin is an exam- after Bizet’s death. day, known for his expertise as a composer ple of the effervescent and charming music of operas and orchestral works, though none that is so characteristic of mid- to late-19th OFFENBACH of his seven operas or his instrumental music century salon/concert music in France. The * * * * * * * * * Intermezzo and Barcarolle from has found a place in the permanent repertory violin writing is virtuosic, airy, and brilliant, Les contes d’Hoffmann in the United States. He taught composition while retaining just a glimmer of darkness— And so ends this program of French at the Conservatory, where Claude Debussy as befits the fervid A Minor tonality; a cer- music, its focus fixed on the consummate if Jacques Offenbach’s (1819-1880) immortal (1862-1918) was one of his students. tain Gypsy air seems to float in and around somewhat obscure master Ernest Guiraud. Les contes d’Hoffmann existed only in the com- Guiraud occupies an important posi- the melodies. In the form of a brief rondo, “A New Orleanian in Paris” speaks very well poser’s piano score reduction at his death in tion in the history of French music. He is with the opening theme returning twice, indeed of the influence of New Orleans on 1880. Guiraud completed and orchestrated one of the links that connects mid-19th the work is seductive, and would serve as a the European cauldron that was French mu- Offenbach’s masterpiece, and the work had century opera and symphonic music (tone- perfect encore after a concerto performance. sic from the last half of the 19th century its premiere in 1881. This is the composer’s poems, concerti, and chamber music), which The parallels to the popular but more sub- until the present day. Is it possible to imag- only true opera – works like Orphée aux enfers began with Halévy and Offenbach, to a stantial violin works of Sarasate and Lalo are ine Ravel, Messiaen, Milhaud, Boulez, Du- and La Vie parisienne are operettas, which con- younger generation of composers, including inevitable. The Caprice owes its seldom-heard tilleux, and that honorary Frenchman, Igor tain spoken dialogue. Tuneful and charming, Massenet, Lalo, Saint-Saëns, Faure, Chabrier, status to its brevity; it’s really too brief to Stravinsky, without Guiraud? I don’t think the justly famous Intermezzo and Barcarolle d’Indy, Chausson, Debussy, and many more. program on its own in concert. so. He is one of the originators of the French (Giulietta’s “Belle nuit ô nuit d’amour” After the election, in 1848, of Louis Romantic musical tradition, and for that we aria) have been crowd-pleasers since the Napoleon as president of France—later owe him a great deal. opera’s premiere. known as “Napoleon III, Emperor of the BIZET French”—the new political and artistic cli- Farandole from L’Arlésienne suite no. 2 Stephen Dankner mate favored a conventional musical lan- Composer-in-Residence GUIRAUD guage; shocking and confessional outpour- There are two contrasting themes in the Fa- Louisiana Philharmonic Orchestra First movement of ings, à la Berlioz (Symphonie fantastique), randole; the first, adapted from a French folk Caprice pour violin would have been frowned upon. Guiraud’s song, is a march in a minor key, while the sec- Carnaval from Suite d’orchestre artistic temperament clearly suited the times; ond, in a major key, reflects the farandole, a his style is conservative, owing much to the dance from the southern area of France. The Ernest Guiraud (1837–1892) was born in influence of Mendelssohn, with memorable work is from the second suite of L’Arlésienne, New Orleans and emigrated to France, where melodies and a clear-cut sense of form—all which Bizet’s friend Ernest Guiraud orches- Joel Smirnoff, Conductor Mr. Smirnoff also plays jazz, performing recitalist, she has appeared in St. Petersburg, (National Symphony Orchestra of Mexico), In 2000, Mr. Smirnoff made his frequently as improvising soloist with Tony Prague, Paris, Seoul, Tokyo, and at venues in while also remaining music director of the official American conducting debut with Bennett. His solos were featured on the the United States including Lincoln Center, Orquesta Sinfónica de Minería. In the United the San Francisco Symphony, conducting an Grammy award-winning CD Tony Bennett Sings Krannert Center, Carver Center, and George States, Prieto contributes to the cultural all-Tchaikovsky program. Guest conducting Ellington Hot and Cool. Mason, Rockefeller, Iowa, and Georgia renewal of New Orleans as the music director engagements include the Amarillo Symphony, universities. Enjoying a number of interesting of the Louisiana Philharmonic Orchestra Chicago Philharmonic, Juilliard Orchestra, Joan Kwuon, Violin collaborations, Ms. Kwuon has performed and continues to serve as music director Louisiana Philharmonic, New World At the invitation of Sir André Previn, with the Juilliard String Quartet, Gilbert of the Huntsville Symphony Orchestra in Symphony, Norwegian Chamber Orchestra, Ms. Kwuon made her critically acclaimed Kalish, Jaime Laredo, Sharon Robinson, Alabama. Phoenix Symphony, St. Paul Chamber debut at the Tanglewood Music Festival Bright Sheng, and in duet with Tony Bennett A graduate of Princeton and Harvard Orchestra, Tanglewood Music Center performing Johannes Brahms’ Violin Concerto. at Jazz at Lincoln Center and Tanglewood. universities, he has made guest appearances Orchestra, Western New York Chamber She has since appeared with numerous Hailing from Los Angeles, Ms. Kwuon with orchestras in Mexico, the United States, Orchestra, and a European tour with the Basel international orchestras, including the Royal holds advanced music degrees from Indiana Germany, Holland, Russia, Portugal, Spain, Sinfonietta and Charles Rosen as soloist in Philharmonic Orchestra, London Symphony University, the Juilliard School, and the France, Ireland, Israel, and throughout Latin the Elliott Carter Piano Concerto. Orchestra, BBC National Orchestra of Wales, Cleveland Institute of Music and is a member America. A strong proponent of education, In addition to his activities as a NHK Symphony of Tokyo, Moscow State of the Juilliard School assistant faculty. Prieto has conducted the Youth Orchestra of conductor, Smirnoff is first violinist of Symphony, Bulgarian National Orchestra, Kwuon plays the “Mary Portman” Guarneri the Americas since 2002. He has performed the Juilliard String Quartet and Chairman State Symphony Orchestra of Mexico, del Gesu, 1735, on generous extended loan with this enthusiastic ensemble at the United of the Violin Department at the Juilliard Jyvaskyla Sinfonia of Finland, Buffalo from Karen and Clement Arrison through the Nations and the Kennedy Center, and has School. In 1997, he was the featured violin Philharmonic, and the Seattle Symphony, Stradivari Society of Chicago. toured throughout South America and soloist at Tanglewood in a concert dedicated working with such conductors as Charles Mexico. to the memory of violinist Louis Krasner, Dutoit, André Previn, Matthias Bamert, Carlos Miguel Prieto, Music Director Prieto is also an accomplished violinist performing Alban Berg’s Violin Concerto under Thierry Fischer, Heinz Wallberg, Sergei Currently considered one of the most and became a member of the Cuarteto Prieto the direction of Bernard Haitink.