De Claude Debussy -De L’Aube À Midi [Extraits]- Tous Cycles
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Season 20 Season 2011-2012
Season 2020111111----2020202011112222 The Philadelphia Orchestra Thursday, March 229999,, at 8:00 FriFriFridayFri dayday,, March 303030,30 , at 222:002:00:00:00 Saturday, March 313131,31 , at 8:00 EsaEsa----PekkaPekka Salonen Conductor Leila Josefowicz Violin Bartók Music for Strings, Percussion, and Celesta I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Intermission Salonen Violin Concerto I. Mirage II. Pulse I III. Pulse II IV. Adieu First Philadelphia Orchestra performances Debussy La Mer I. From Dawn to Midday at Sea II. Play of the Waves III. Dialogue of the Wind and the Sea This program runs approximately 1 hour, 55 minutes. Conductor and composer EsaEsa----PekkaPekka Salonen has been principal conductor and artistic advisor of the Philharmonia Orchestra in London since 2008 and artistic director of the Baltic Sea Festival since 2003. He became conductor laureate of the Los Angeles Philharmonic in 2009, following 17 years at its helm as music director. In the 2011-12 season Mr. Salonen leads the Philharmonia in performances of Bartók’s Bluebeard’s Castle as part of the “Infernal Dance: Inside the World of Béla Bartók” project, launched in January 2011. This season with the Los Angeles Philharmonic Mr. Salonen conducted the world premiere of the recently-discovered Shostakovich opera Orango. As a composer Mr. Salonen has completed commissions for the Finnish Radio Symphony, Tokyo’s Suntory Hall, the North German Radio Symphony, the Los Angeles Philharmonic, the Présences Festival in Paris, and a piano concerto dedicated to, and premiered by, Yefim Bronfman. Mr. Salonen’s Violin Concerto, written for and premiered by Leila Josefowicz in 2009, received the 2012 Grawemeyer Award. -
Music Appreciation May 1, 2020
Music Virtual Learning Music Appreciation May 1, 2020 Music Appreciation Lesson:May 1, 2020 Objective/Learning Target: Students will learn about 20th Century orchestral works. Bell Work Before diving into orchestral works of the 20th century, what are five characteristics that defined the beginning of this era? Lesson Claude Debussy- La Mer/The Sea (1903-1905) ● Required large orchestras to offer a great variety of tone colors and textures. Treated music as an art of sound and experimented with a wide range of sounds on the instruments. ● Part of “Three symphonic sketches” captures the movements of the sea by moving through quick alternating musical images. Stravinsky- The Rite of Spring (1913) ● Influenced by Russian traditions and was able to create his individual voice by adding unpredictable accents and rests, changes in rhythmic meters, dissonance (tension/clash in music), colorful use of instruments. ● Set in prehistoric Russia where an adolescent girl is chosen for sacrifice and must dance herself to death. ● Began the style of primitivism- purposefully representing the uncultured and rural lifestyle rather than the modern world. ● Audience was shocked by the style when it premiered that they broke out into a riot. Ravel- La valse (1919-1920) ● Borrowed from older French music and the Classic tradition. Also was inspired by French art, traditions, and literature. ● However, in this piece, he is inspired by Viennese waltz rhythms. Holst- The Planets (1914-16) ● British Composer ● Became the source of many conventions of film music for movies and television shows set in space. ● Does not try to have any deep philosophical points just for entertainment purpose. -
Debussy La Mer Images Pour Orchestre Prélude À L’Après-Midi D’Un Faune Singapore Symphony Orchestra Lan Shui
Lan Shui DEBUSSY LA MER IMAGES POUR ORCHESTRE PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE SINGAPORE SYMPHONY ORCHESTRA LAN SHUI BIS-1837 BIS-1837_f-b.indd 1 2014-05-27 13:30 DEBUSSY, Claude (1862–1918) Images pour orchestre, L 118 (1905–12) 38'36 1 I. Gigues 8'40 II. Ibéria 21'35 2 Par les rues et par les chemins 7'10 3 Les parfums de la nuit 9'40 4 Le matin d’un jour de fête 4'38 5 III. Rondes de printemps 8'02 6 Prélude à l’après-midi d’un faune, L 87 (1891–94) 11'23 Très modéré La Mer, trois esquisses symphoniques, L 111 (1903–05) 25'50 7 I. De l’aube à midi sur la mer. Très lent 9'23 8 II. Jeux de vagues. Allegro 6'51 9 III. Dialogue du vent et de la mer. Animé et tumultueux 9'14 TT: 76'48 Singapore Symphony Orchestra Lan Shui conductor 3 ‘I wanted for music a freedom which is in her more perhaps than in any art, since she is limited not to a more or less exact reproduction of nature, but to the mysterious correspondences between Nature and the Imagination.’ Claude Debussy, April 1902 Each of the three works on this recording represents one period in the work of Claude Debussy, and together they permit us to observe the stylistic develop - ment – from a composer born in the nineteenth century and initially influenced by his contemporaries into an innovator, one of a kind, who contributed to the profound changes that affected the way in which music was conceived in the early twentieth century and whose impact is still being felt today. -
Debussy and the Veil of Tonality: Essays on His Music Is Published by Pendragon Press, Box 190, Hillsdale, New York 12529
Debussy and the Veil of Tonality: Essays on His Music is published by Pendragon Press, Box 190, Hillsdale, New York 12529. It may be ordered online from www.pendragonpress.com Debussy and the Veil of Tonality: Essays on His Music TABLE OF CONTENTS Preface Introduction Chapter 1. Debussy and the Symphonic Principle Chapter 2. Aural Images: Debussy's Recycling Chapter 3. From l'Enfant prodigue to La Damoiselle Élue Chapter 4. Nuages and Reduced Tonality Chapter 5. "The Keel Row," Gigues and Bifocal Tonality Chapter 6. Symphonic Tonality in La mer Chapter 7. The Danses sacrée et profane: Whole-tone and Modal Mapping Chapter 8. Debussy and Ravel: How To Tell Them Apart *********** Appendix 1. Texts of La Damoiselle Élue Appendix 2. Score of Rondel chinois Bibliography Index of Examples General Index *********** PREFACE This book originated as a compilation of several essays I had written over the years, generally for informal oral presentation, and now appearing as Chapters 2, 5, and 8. Chapter 2 originally was presented as a paper before a joint meeting of the New England chapter of the American Musicological Society and the Northeast chapter of the Society for Ethnomusicology, at Tufts University in 1993; Chapter 5 was written for a similar joint meeting, also at Tufts, in 1985; Chapter 4 expands on my detailed notes for a colloquium given at the University of Pittsburgh; and Chapter 8 was a guest lecture at the University of Connecticut. Chapters 1, 3, 4, 6 and 7 are newly written for this book. Every thought has been reconsidered, to put forward ideas only embryonically realized as long as thirty years ago, and to weed out unnecessary duplication. -
Inconstant Tonality in Debussy's La
INCONSTANT TONALITY IN DEBUSSY‘S LA MER by DAVID JONATHAN MARCUS (Under the Direction of Adrian Childs) ABSTRACT: This study is an original harmonic and tonal analysis of Debussy‘s orchestral masterpiece La mer: trois esquisses symphoniques. Based on Debussy‘s praise of freedom and critique of ―overprecise forms,‖ the author undertakes to explain harmony and tonicity in the music afresh, thoroughly adjusting traditional concepts of tonality. He shows that Debussy‘s harmonic originality lies close to the musical surface, and analytical reductions, particularly to familiar tonal objects, tend to conceal its harmonic methods.These methods include the use of whole-step/half-step scales as harmonic regions, the use of maximally intersecting scales for smooth modulation, and the use of invariant pitch classes as organizing agents over long spans of musical time. The auther then replaces the old concept of harmonic function, conceived as a consistent hierarchy centered on tonic and dominant, with a constantly evolving presentation of tonicity. The final portion of the study considers the metaphorical fit of all these techniques for La mer‘s oceanic imagery. KEYWORDS: Debussy, La mer, scale theory, parsimony, post-tonal tonicity, pitch-class invariance INCONSTANT TONALITY IN DEBUSSY‘S LA MER by DAVID JONATHAN MARCUS B.A., University of California, Berkeley, 1983 M.A., Georgetown University, 1991 M.M., Georgia State University, 1996 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements -
Bassoon / Contrabassoon
announces openings for: * * * BASSOON * * * Associate Principal The Helena Symphony Orchestra & Chorale under Music Director Allan R. Scott has an annual concert season of 14-18 concerts, including 6 subscription concerts, 3 non-series concerts, 5 educational concerts, occasional runout or benefit performances, and potential outreach / school visits, totaling 55-65 services a season. The Helena Symphony Orchestra works under a master agreement, and there are 1-5 rehearsals one week prior to every concert series. Start Date: when openings exist or to be put on substitute list Reports to: Music Director and Director of Artistic Planning Length of Season: September to May (plus summer concerts June and July) Audition Date: Scheduled as Requested or Needed (Please complete the Audition Information Form and return to Director of Artistic Planning Rehanna Olson to set up appointment, [email protected]) AUDITION The Helena Symphony Orchestra encourages talented and dedicated musicians to audition. Musicians are judged on musicianship, preparation, tone quality, and proficiency on their instrument. The Audition Committee consists of the Music Director, any assistant conductor, and principal members of the section(s) or instrument family (i.e. winds), and at times, other members from that section. Prior to the audition, the candidate must complete the Audition Information Form as well as review the Rehearsal & Performance Schedule. The Audition consists of the following – PLEASE READ: * Prepared unaccompanied solo; 2 minutes in length to demonstrate instrument proficiency, tone quality, technique, and virtuosity (need not be memorized) * Several prepared excerpts that are assigned to demonstrate musician’s preparation ability (Excerpts are available online via www.orchestraexcerpts.com along with recorded examples.) * There may be more than one audition round depending on the number of Qualified candidates. -
PROGRAM NOTES Masterworks I: French Moderns
Quad City Symphony Orchestra PROGRAM NOTES Masterworks I: French Moderns By Jacob Bancks Associate Professor of Music Augustana College CLAUDE DEBUSSY (1862-1918) creature with goat’s legs and man’s head Prélude à l'après-midi d'un faune (Prelude and torso; not a “fawn”, or baby deer). If you to the Afternoon of a Faun) can imagine your everyday, waking life be- ing like a dream where every desire is frus- Instrumentation: 3 flutes, 2 oboes, English horn, trated, and that falling asleep is your only 2 clarinets, 2 bassoons, 4 horns, percussion, 2 gateway to fulfillment, you might be on your harps, and strings. way to understanding the beauty of Mal- Premiere: December 22, 1894, Paris, Gustave larmé’s poem. Doret conducting. QCSO Performance History: Harry John Brown Did I love a dream? conducting in 1953; Charles Gigante conduct- ing in 1960; James Dixon conducting in 1969, My doubt, mass of ancient night, ends 1976, 1982, and 1990; Mark Gibson (guest) extreme conducting in 1998; Mark Russell Smith con- In many a subtle branch, that remaining ducting in 2008. the true Woods themselves, proves, alas, that I In 1886 Jean Moréas wrote an article in Le too Figaro articulating the ideals that were ani- Offered myself, alone, as triumph, the mating a new generation of poets. This Sym- false ideal of roses. bolist Manifesto included the exhortation to artists that their core ideas should be hidden If Mallarmé’s goal, in line with the Symbolist behind “sumptuous lounge robes of extra- Manifesto, was to write sensuous and evoc- neous analogies.” This was essential, he be- ative poetry that carefully obscured his cen- lieved, because Symbolism “consists in tral idea, he was clearly highly successful. -
Download Program Notes
La Mer: Trois esquisses symphoniques (The Sea: Three Symphonic Sketches) Claude Debussy ou are perhaps unaware that I was in - fringe of Burgundy. And the piece he was writ - “Y tended for the noble career of a sailor ing comprised, as he described it in the same and have only deviated from that path letter, three symphonic sketches entitled: 1. thanks to the quirk of fate.” So wrote Claude “mer belle aux îles Sanguinaires” (“Beautiful Debussy to his friend and fellow composer Sea at the Sanguinaire Islands”); 2. “jeux de André Messager on September 12, 1903, by vagues” (“The Play of the Waves”); 3. “le vent which time he had been at work for about a fait danser la mer” (“The Wind Makes the Sea month on the piece that would grow into La Dance”); the whole to be called La Mer (The Mer . His father, an ex-Navy man who ran a Sea). Only the second of the movement titles china shop, had thought that the Navy, or would stick as Debussy worked on his sym - perhaps merchant seamanship, would be a phonic sketches over the next two years. The splendid goal for his firstborn son. But then Sanguinaire Islands (a granitic archipelago the china shop went out of business and De - near the entrance to the Gulf of Ajaccio in bussy père got into trouble fighting for the Corsica — which, by the way, Debussy never Paris Commune and was sentenced to four visited) would give way to the more general years in prison. The term was suspended description “From Dawn till Noon on the after he served a year, but as part of the deal Sea,” and “The Wind Makes the Sea Dance” he relinquished his civil rights. -
Claude Debussy. Nocturnes. Édition De Denis Herlin. (Œuvres Complètes, Ser
Claude Debussy. Nocturnes. Édition de Denis Herlin. (Œuvres complètes, ser. V, vol. 3.) Paris: Durand, 1999. [General preface in French and English, p. ix; foreword, pp. xixxv; select bibliography, p. xxvii; score, 137 pp.; abbreviations, pp. 139-141; critical notes, pp. 143-153; variants, pp. 155-211; appendix, pp. 213-222; facsimiles, pp. 223-239. Clothbound, Durand & Fils 15217. Price 995 francs.] Claude Debussy. Nocturnes: I. Nuages -- II. Fêtes - III. Sirènes. 1898- 1899. Édition de Denis Herlin. Paris: Durand (T. Presser), 2000. [Foreword in French and English, 1 page; nomenclature, 1 page; score, pp. 1-135. Durand & Fils 15235. Price 199 francs.] Reviewed by Mark DeVoto [revised from Notes, September 2001] Claude Debussy's Nocturnes for orchestra (1898-99) are arguably this composer's farthest-reaching forward leap into the future of music, and, especially in Nuages, his single most radical exploration of previously unknown realms of tonality --- a resplendent beginning to the new twentieth century that Debussy's art did so much to change. And in the realm of pure sound, no less than in tonality, the Nocturnes proclaim a new world. Certainly it is true that in the Prélude à l'Après- midi d'un faune (1894), Debussy made genuinely new discoveries in timbre; but the pathbreaking originality of that work lies principally in its Art Nouveau melody and form, and in its orchestration. Faune more than anything else shows Debussy's transforming mastery of a kind of sound that Richard Wagner had perfected in Tristan und Isolde and Parsifal. It was in the Nocturnes that Debussy, building upon some tentative earlier attempts in La Damoiselle élue and the Fantaisie, invented the heterophonic orchestra that dominates the character of all his later orchestral works. -
La Mer Debussy Le Sacre Du Printemps Stravinsky Rapsodie
in the early 20th century and where John discovered the long-forgotten four-hands score of The Planets. Recently they toured Australia and Canada, playing in Sydney and Canberra and at the Festival of the Sound in Ontario. They gave a highly successful recital at London’s Wigmore Hall marking the 30th anniversary of John’s début there. The Independent and Financial Times reviewers were enthusiastic, concluding by saying that ‘the playing was enough to confirm the evening in its ambition, scope and sheer grit as something exceptional, duly exciting a prolonged ovation from its capacity audience.’ Independently and together Fiona and John have rounded, versatile careers that combine concerts (John working in particular with celebrated cellist Raphael Wallfisch), editing and reviewing, composing for major publishers, adjudicating, teaching and coaching at the highest level in Switzerland, Austria, Australia, Bermuda, Venezuela. Le sacre du printemps Stravinsky Rapsodie espagnole Ravel La mer Debussy Fiona York & John York York One piano Four2 hands 8 NI 5866 NI 5866 1 the changing light, the restlessness and power. His music takes us from the flat calm of a grey dawn to the blaze of noontime sunlight in the opening movement, through the sublimated and ecstatic waltz of the playful waves of the second to the elemental, eternal struggle and mutual dependence of sea and wind in the finale. York2 Debussy, as his subtitle suggests, deliberately conceived the work symphonically, his characteristic short motifs and themes recurring, constantly transformed, throughout the three Fiona York & John York movements. The most glorious melody of all he reserves for the last movement where it always One piano Four hands appears in D-flat major/C-sharp minor and generates the great final climaxes. -
La Mer a Deception? Copyright © 2014
Article Hellenic Journal of Music Education, and Culture La Mer A Deception? Copyright © 2014 Vol. 5 | Article 4 A Reception History Analysis ISSN 1792-2518 www.hejmec.eu Rina Altaras Center for Advanced Studies in Music, Istanbul Technical University, Istanbul, Turkey [email protected] ABSTRACT Debussy composed La Mer, in the summer of 1905. It was performed for the first time the same year in Paris. The reception of the public and the critics was biased. The critique, written by Amédée Boutarel, in Le Ménestrel, France’s longest running music journal (1833-1940), dismisses La Mer very openly. La Mer wasn’t reproduced in Paris till 1908 and then was a success. The most intriguing part of this success was the review of Amédée Boutarel again in Le Ménestrel, this time still with some reservation but clearly more appreciative and treating the performance as it were a premiere. This paper presents possible reasons for the shift in Amédée Boutarel’s perception and thus the standpoint of the magazine from a Bourdieuian point of view. According to Bourdieu not only the artists (writers, composers) and performers, but also the agents (publishers, critics, journals) contribute directly to the production of the field of art, which has its own dynamics. For that purpose the magazine’s marketing & sales strategy is analysed by taking its content, visual design, and writers, specifically Boutarel, into account. Keywords: Debussy, La Mer, field of cultural production, Bourdieu, reception history. La Mer was composed in the summer of 1905 and was performed for the first time in October 15th, 1905 by the Orchestre Lamoureux under the direction of Camille Chevillard. -
Claude Debussy La Mer
Claude Debussy La Mer FRANCESCO PIEMONTESI piano ORCHESTRE NATIONAL DE FRANCE EMMANUEL KRIVINE direction JEUDI 5 AVRIL 20H CÉSAR FRANCK Variations symphoniques pour piano et orchestre (15 mn environ) RICHARD STRAUSS Burleske, pour piano et orchestre (20 minutes environ) - Entracte - MAURICE RAVEL Une barque sur l’océan (8 minutes environ) CLAUDE DEBUSSY La Mer, trois esquisses symphoniques 1. De l’aube à midi sur la mer 2. Jeux de vagues 3. Dialogue du vent et de la mer (25 minutes environ) FRANCESCO PIEMONTESI piano ORCHESTRE NATIONAL DE FRANCE LUC HÉRY violon solo EMMANUEL KRIVINE direction Ce concert est diffusé en direct sur l’antenne de France Musique et disponible à la ré-écoute sur francemusique.fr Emmanuel Krivine et des musiciens de l’Orchestre National de France dédicaceront le disque Claude Debussy qu’ils Francesco Piemontesi viennent d’enregistrer à l’issue du concert. ©MARCO BORGGREVE CÉSAR FRANCK 1822-1890 CES ANNÉES-LÀ : Variations symphoniques 1884 : Autorisation du syndicalisme en Composées en 1885. Créées le 1er mai 1886 à la Société nationale de musique par Louis Diémer sous la France. Duparc, La Vie antérieure (sa direction d’Édouard Colonne. Dédiées à Louis Diémer. Nomenclature : piano solo ; 2 flûtes, 2 hautbois, 2 dernière mélodie achevée). Franck, Pré- clarinettes, 2 bassons ; 4 cors, 2 trompettes ; timbales ; les cordes. lude, Choral et Fugue. Debussy obtient le Premier Grand Prix de Rome avec la cantate L’Enfant prodigue ; il compose Dans les dernières décennies du XIXe siècle, plusieurs compositeurs français re- Apparition sur un poème de Mallarmé. mirent en cause le concerto traditionnel. Ils abandonnèrent l’habituel schéma en trois mouvements, ou proposèrent une relation entre le soliste et l’orchestre fon- 1885 : Louis Pasteur met au point le vac- dée sur d’autres principes que le conflit et le dialogue.