DOCSLIB.ORG

Fonds Andre Jolivet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fonds Andre Jolivet FONDS ANDRE JOLIVET Correspondance 2 Partitions 3 Partitions dédicacées 3 Partitions non dédicacées 7 Méthodes et études instrumentales 17 Iconographie 19 Programmes et affiches 20 Livres 23 Livres dédicacés 23 Livres non dédicacés 27 Revues 31 Revues dédicacées 31 Revues non dédicacées 31 Objets 34 Annexe : Ouvrages de la bibliothèque d’André Jolivet non conservés par la Médiathèque Musicale Mahler. 35 Mis à jour le 02/02/07 Médiathèque Musicale Mahler – Fonds André Jolivet 2 CORRESPONDANCE - 1 lettre d’Edmont Costère à André Jolivet (datée 17 janvier 1954), insérée initialement dans l’ouvrage d’E. Costère Lois et styles des harmonies musicales : genèse et caractères de la totalité des échelles, des gammes, des accords et des rythmes. (PUF, 1954). - 1 lettre de Louis Emié à André Jolivet (datée 24 février 1961), insérée initialement dans l’ouvrage de Louis Emié Le Volubilis. (Yves Filhol, 1960). - 1 carte d’Oskar Fried à André Jolivet (datée 2.12.1933). - 1 lettre de R. Lepoutre à André Jolivet sur papier à en-tête de La Revue Musicale (datée 19 novembre 1951). - 1 billet signée « Paul » (s.d.) avec un dessin. - 1 lettre de Jean Vilar à André Jolivet (2 feuilles recto-verso datées « Samedi 11 » avec enveloppe non timbrée), insérée initialement dans Sophocle : Antigone. Version André Bonnard. (Rencontre, 1950). - 1 lettre à Mme Jolivet ( ?) d’un expéditeur à identifier (datée 31.V.54). Médiathèque Musicale Mahler – Fonds André Jolivet 3 PARTITIONS Partitions dédicacées Partitions dédicacées par l’Auteur à André Jolivet [autre : indiqué entre crochets]. Les partitions ne portent aucune annotation manuscrite [autre : indiqué en NB]. - [Anthologie] : Œuvres pour piano de compositeurs contemporains : recueil d’œuvres de compositeurs étrangers. [en caractères cyrilliques]. (Editions Musicales Ukrainiennes [en caractères cyrilliques]) / Compositions de : Kh. Asakava, I. Kreneï, G. Bacewicz, L. Pipkov, B. Bartok, B. Britten, C. Chavez, A. Copland, A. Jolivet, H. Eisler. NB : Dédicace en russe à identifier. - Pierre Ancelin : Poèmes de Guerre pour baryton et piano, sur des textes de Henri de Montherlant (Jobert). - Pierre Ancelin : Première symphonie pour grand orchestre (Choudens). NB : Copie sans couverture - Pierre Ancelin : Deuxième Symphonie. Partition d’orchestre. (Choudens). - Louis Aubert : Cinéma, ballet en un acte : tableaux symphoniques. Partition d’orchestre [poche]. (Durand). NB : Dédicace à deux inconnus. - A. Baltin : Concerto-Ballade pour piano et orchestre [en caractères cyrilliques]. (Muzika [en caractères cyrilliques]). - Léo Louis Barbès : Trois danses berbères pour piano. (Maurice Senart). - Jean Barraud : Trois Mélodies. (Leduc). - Jean Barraud : Chant pour violon et piano. (Leduc). Partition + partie séparée. NB : Remords à l’encre noire (pp. 2 et 3 de la partition violon/piano ; p. 2 de la partie séparée). - Sadao Bekku : Concerto (1971) pour alto et orchestre. Partition d’orchestre. (Nippon Hoso Shuppan Kyokai). Partition d’orchestre + partie séparée. - Sadao Bekku : Concerto (1969) pour violon et orchestre. Partition d’orchestre. (Nippon Hoso Shuppan Kyokai). - Frank Michael Beyer : Versio für Streichorchester. (Bote & Bock). - Nicolae Buicliu : Simfonia (Rustica). (Editura Muzicala). - Ami Châtelain : Musique pour le piano. (manuscrit – sans mention d’éditeur). - Georges Colin : Cantate pour le vif des Temps. 1. La Porte de pierre pour baryton solo, chœurs mixtes et orchestre. Réduction piano. (copie de manuscrit – sans mention d’éditeur). NB : + copie de la première page de la partition d’orchestre. - Jeanne Colin – D.C. : Caprice pour violon et orchestre (ou piano), op. 14. (Ed. J. Maurer). Partition violon/piano + partie séparée. - Jeanne et Georges Colin : Le Tombeau d’André Jolivet pour deux pianos, op. 1. (Copie du manuscrit avec date autographe [29 mai-27 novembre 1976] – sans mention d’éditeur). - Daniel-Lesur : Le Cantique des cantiques pour chœur à douze voix mixtes. (Durand). - Daniel-Lesur : Deux Chansons de l’étoile de Séville pour chant et piano. (Lucien de Lacour Editeur). - Daniel-Lesur : Clair comme le jour pour chant et piano. (Amphion). - Daniel-Lesur : L’Enfance de l’art pour chant et piano. (Amphion). - Daniel-Lesur : Variations pour piano et orchestre à cordes. (Lucien de Lacour Editeur / Costallat). Médiathèque Musicale Mahler – Fonds André Jolivet 4 - Daniel-Lesur : La Vie intérieure : triptyque pour grand-orgue. (Lemoine). NB : Dédicace à Yves Baudrier. - Cécile Delahaye : Sonate pour piano. (sans mention d’éditeur : manuscrit ?). - Wilhelm Demian : Concert pentru violina si orchestra. (Editura Muzicala). + carte de visite du compositeur - Roger Désormière : Duos pour flûtes. (Fédération Musicale Populaire). NB : Dédicace à Yves Baudrier. - A. Diény : Trois Improvisations pour flûte seule. (Leduc). - Antoine Duhamel : Sonate pour piano et violon. (copie de manuscrit – sans mention d’éditeur). NB : Double dédicace à Lili Kraus/Willi Boskowsky et A. Jolivet. - Louis Emié : Berceuse pour Golo pour piano. (Les Editions de France). NB : 2 exemplaires (l’un bleu foncé, l’autre bleu clair) avec la même dédicace autographe datée du même mois (mars 1965). - A. Filipenko : Duma, poème symphonique pour voix et orchestre [en caractères cyrilliques]. Partition d’orchestre. (Editions Mistestvo [en caractères cyrilliques]). - Wolfgang Fortner : Chant de naissance : Kantate nach Worten von Saint John Perse für Soli, Chor und Orchester. (Schott). - Isadore Freed : Sonorités rythmiques : six pièces pour piano. (R. Deiss Editeur). - Renaud Gagneux : « … Et Tenebrae eam non comprehenderunt … » pour chœur. (Heugel). - Reinhold Glière : Scènes et danses extraites du ballet « Mednij vsadnik ». Arrangement pour piano par l’Auteur [en caractères cyrilliques]. (Editions Musicales d’Etat [en caractères cyrilliques]). - Reinhold Glière : Valse de concert pour grand orchestre [en caractères cyrilliques]. Partition d’orchestre. (Editions Musicales d’Etat [en caractères cyrilliques]). - Yoshio Hachimura : Constellation for violin, vibraphone, tubular-bells and pianoforte. (Ongaku No Tomo Sha). - Donald Harris : String Quartet. (Jobert). - Donald Harris : Fantaisie pour violon et piano ou orchestre. (Jobert). Partition violon/piano + partie séparée. - Vasile Herman : Opt Pise mici pentru pian. (Editura Muzicala). - Jean-Paul Holstein : Les Trois du temps sacré pour orgue seul. (Choudens). NB : Partition non dédicacée, mais accompagnée d’une lettre manuscrite de l’Auteur. - Shin-Ichiro Ikebe : Sonate pour violon seul. (Ongaku No Tomo Sha). - Shin-Ichiro Ikebe : Symphonie. Partition d’orchestre. (Ongaku No Tomo Sha). - Dimitri Kabalevski : Concerto pour violoncelle et orchestre, op. 49 [en caractères cyrilliques]. Réduction piano. (Editions Musicales d’Etat [en caractères cyrilliques]). Partition + partie séparée. - Dimitri Kabalevski : Jeux et danses, op. 81 [en caractères cyrilliques]. (Soviestki Kompositor [en caractères cyrilliques]). - Dimitri Kabalevski : Rondo pour piano, op. 59 [en caractères cyrilliques]. (Muzika). NB : Signature de l’Auteur sans dédicace. - G.B. Kadasoglou : Impromptu pour piano solo. (Ph.C. Bouboulidis). - Milko Kelemen : Transfigurationene für Klavier und Orchester. (Henry Litolff’s Verlag / C.F. Peters). - Aram Khatchatourian : Concerto pour violoncelle et orchestre [en caractères cyrilliques]. Réduction piano. (Editions Musicales d’Etat [en caractères cyrilliques]). - Yasuji Kiyose : Piano Works. (Ongaku No Tomo Sha). Médiathèque Musicale Mahler – Fonds André Jolivet 5 - R. P. Komitas : Musique populaire arménienne. Nouvelle série. Cahier I : Danses recueillies et mises en musique par le R. P. Komitas. [en français et en arménien]. (Senart). NB : Dédicace de Marguerite Babaïan. - Paul Le Flem : Aucassin et Nicolette, chantefable en 1 prologue et trois parties. Réduction piano. (Editions Mutuelles). - Paul Le Flem : Avril pour piano. (Editions Mutuelles). - Paul Le Flem : Le Chant des genêts pour piano. (Editions musicales H. Hérelle). - Paul Le Flem : Clair de lune sous bois pour harpe. (Editions Mutuelles). - Paul Le Flem : Crépuscule d’Armor, chœur pour voix de femmes. Partition piano et chant. (Editions Mutuelles). - Paul Le Flem : La Magicienne de la mer. Réduction piano. (Copie du manuscrit – sans mention d’éditeur). - Paul Le Flem : Par grèves pour piano. (Editions Mutuelles). - Paul Le Flem : Quintette en mi mineur pour piano, 2 violons, alto et violoncelle. (Editions Mutuelles). Partitions + parties séparées des cordes. - Paul Le Flem : Le Rossignol de Saint-Malo, fantaisie lyrique en 1 acte. Réduction piano. (Eschig). - Paul Le Flem : Sept Pièces enfantines pour piano. (Editions Musicales H. Hérelle). - Paul Le Flem : Sonate en sol mineur pour violon et piano. (H. Hérelle, Fortemps & Cie). Partition + partie séparée. - Paul Le Flem : Vieux Calvaire pour piano. (Editions Mutuelles). - Fernando Lopes Graça : Quatro Cantos do natal pour voix et piano. (Separata do n 63 de Gazeta Musical). - Salah Mahdi : L’Hymne national tunisien. Partition d’orchestre. ([Publication officielle tunisienne : en arabe]). - Nina Makarova : First Symphony. Partition d’orchestre. (Muzika). - Nina Makarova : Freska Nefertiti pour harpe [en caractères cyrilliques]. (Copie du manuscrit – sans mention d’éditeur). - Gian Francesco Malipiero : Dialoghi. IV – per 5 strumenti a perdifiato. (Ricordi). - Edmond Mathis : Quatre Mélodies. (L’Auteur). NB : 2 exemplaires (l’un dédicacé, l’autre pas). - Shin-ichi Matushita : Composizione da camera per 8. (Ongaku no Tomo Sha). - Shin-ichi Matushita : U Mai (Danza
Load more

Recommended publications
  • Documents Sur Robert SCHUMANN (1810-1856)
    DOCUMENTS SUR Robert SCHUMANN (1810-1856) (Mise à jour le 21 mai 2013) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 www.mediathequemahler.org Médiathèque Musicale Mahler – Robert Schumann 2010 2 Livres et documents sur Robert SCHUMANN (1810-1856) LIVRES 3 Sur Robert Schumann 3 Schumann dans les biographies d'autres compositeurs… 10 Schumann dans les ouvrages thématiques… 13 PARTITIONS 22 ENREGISTREMENTS SONORES 34 Schumann dans les disques d'autres compositeurs 75 REVUES 99 ARCHIVES NUMÉRISÉES 100 FONDS D'ARCHIVES 101 Médiathèque Musicale Mahler – Robert Schumann 2010 3 LIVRES BIOGRAPHIES DE ROBERT SCHUMANN Clara und Robert Schumann : Zeitgenössische Porträts : Katalog zur Ausstellung des Heinrich-Heine- Instituts, Düsseldorf und des Robert-SChumann-Hauses in Zwickau (7. Juni - 24. Juli 1994, Heinrich- Heine-Institut, Düsseldorf...) / Vorwort von Joseph A. Kruse. - Düsseldorf : Droste, 1994. (BM SCHUM A5) Robert Schumann / préf. de J.C. Teboul. - Paris : Place, 2004. (BM SCHUM E4) Robert Schumann : the autograph manuscript of the piano concerto in a minor op. 54 : [catalogue de vente, Sotheby's, 22 novembre 1989]. - London : Sotheby's, 1989. (BM SCHUM G Concerto) Schumann. - Paris : Hachette, 1970. (BM SCHUM D6) Schumann à la Grange de Meslay du 10 au 19 juin 1994 : 31e Fêtes musicales en Touraine, 1994. - Tours : Fêtes Musicales en Touraine, 1994. (BM SCHUM A4) Thematisches Verzeichniss sämmtlicher im Druck erschienenen Werke Robert Schumann's. - Leipzig ; New York : Schuberth & Co, s.d.. (BM SCHUM A1) ABERT Hermann. - Robert Schumann. - Berlin : Harmonie, 1903. (BM SCHUM C ABE A1) ABRAHAM Gerald. - Schumann : a symposium. - London : Oxford University Press, 1952.
    [Show full text]
  • Roger BOURDIN 1923-1976
    1 Roger BOURDIN 1923-1976 DISCOGRAPHIE non exhaustive 02/08/2021 (établie par Philippe Bourdin, Denis Verroust, Masaaki Yagishita, Dany Lallemand et Christophe Hénault) MUSIQUE CLASSIQUE Dans l’énoncé des titres, les tonalités sont abrégées ; celles débutant par une majuscule sont majeures, et par une minuscule, mineures (Sol = sol majeur, sol = sol mineur). 1 LP (33 ⁄3 tours) Mo pour disque vinyle Mono, LP St pour disque vinyle Stéréo. 1 LP (33 ⁄3 rpm long-playing) Mo = Mono vinyl, LP St = Stereo vinyl. This discography (as updated and accurate as possible) is a work-in-progress. New content will be added bit by bit. ARION • L’Art de la Flûte Vol. 2 La flûte traversière du XVIIe siècle à nos jours Marin MERSENNE Quatuor pour flûtes (Arrgt. R. Cotte ?) Jean-Baptiste LŒILLET Allegro de la Sonate en la pour flûte et guitare Michel BLAVET Rondeau pour flûte et hautbois (Arrgt. R. Cotte ?) Carl Philipp Emanuel BACH Allegro de la Sonate en la, Wq 132 (Arrgt. R. Bourdin) Wolfgang Amadeus MOZART Andante en Ut, KV 315, pour flûte et harpe (Arrgt. A. Challan) Friedrich-Daniel KUHLAU Scherzo du Quatuor en Mi, Op. 103, pour 4 flûtes Hector BERLIOZ Trio des Jeunes Ismaélites, pour 2 flûtes et harpe (extr. de “L’Enfance du Christ”) Claude DEBUSSY Syrinx pour flûte seule Edgar VARESE Densité 21.5, pour flûte seule André JOLIVET Ascèses N° 4 pour flûte en sol Jacques IBERT Entr’acte pour flûte et guitare Alexandre TCHEREPNINE Quatuor pour 4 flûtes (In the church, Parents hope for children, In the kitchen) Roger BOURDIN Sarabande pour flûte, hautbois et harpe Jacques CASTERÈDE Flûtes légères (extr.
    [Show full text]
  • Cohesion of Composer and Singer: the Female Singers of Poulenc
    COHESION OF COMPOSER AND SINGER: THE FEMALE SINGERS OF POULENC DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Susan Joanne Musselman, B.M., M.M. ***** The Ohio State University 2007 Document Committee: J. Robin Rice, Adviser Approved by: Hilary Apfelstadt Wayne Redenbarger ________________________ Adviser Graduate Program in Music Copyright by Susan Joanne Musselman 2007 ABSTRACT Every artist’s works spring from an aspiring catalyst. One’s muses can range from a beloved city to a spectacular piece of music, or even a favorite time of year. Francis Poulenc’s inspiration for song-writing came from the high level of intimacy he had with his close friends. They provided the stimulation and encouragement needed for a lifetime of composition. There is a substantial amount of information about Francis Poulenc’s life and works available. We are fortunate to have access to his own writings, including a diary of his songs, an in-depth interview with a close friend, and a large collection of his correspondence with friends, fellow composers, and his singers. It is through these documents that we not only glean knowledge of this great composer, but also catch a glimpse of the musical accuracy Poulenc so desired in the performance of his songs. A certain amount of scandal surrounded Poulenc during his lifetime and even well after his passing. Many rumors existed involving his homosexuality and his relationships with other male musicians, as well as the possible fathering of a daughter. The primary goal of this document is not to unearth any hidden innuendos regarding his personal life, however, but to humanize the relationships that Poulenc had with so many of his singers.
    [Show full text]
  • The French Flute Tradition
    The French Flute Tradition by Liesl Stoltz Dissertation presented as partial fulfilment of the requirements for the degree Master of Music (Performance) Faculty of Humanities University of Cape Town Supervisor: Prof. James May February 2003 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town DECLARATION I, the undersigned, declare that this dissertation is my own, unaided work. It is being submitted in part fulfilment of the requirements for the degree of Master of Music (Performance). It has not been previously submitted in its entirety or in part for any degree or examination at any other university. ~. : ~~o!f\ ......... ......~~ '.. ~Q~3 ..... Liesl StoI'tZ ii ABSTRACT The French flute tradition is remarkable and is admired by flautists, teachers and students of the flute all over the world. The dissertation researched the development of this tradition from the pre-Baroque period through to the modern era and tried to determine the underlying factors that stimulated its development specifically in France. The first key was added to the flute in France and with this the Hotteteres created the blueprint for the modern flute of today. During the Classical period the conservative French retarded the development of the instrument and the repertoire for the flute by initially rejecting additional keys.
    [Show full text]
  • The Influences of the French Flute School on Brazilian Flute Pedagogy
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2017 The Influences of the rF ench Flute School on Brazilian Flute Pedagogy Fabiana Magrinelli Rocha Dahmer University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Magrinelli Rocha Dahmer, Fabiana, "The Influences of the rF ench Flute School on Brazilian Flute Pedagogy" (2017). Dissertations. 1401. https://aquila.usm.edu/dissertations/1401 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE INFLUENCE OF THE FRENCH FLUTE SCHOOL ON BRAZILIAN FLUTE PEDAGOGY by Fabiana Magrinelli Rocha Dahmer A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Danilo Mezzadri, Committee Chair Associate Professor, Music ________________________________________________ Dr. Kim Woolly, Committee Member Associate Professor, Music ________________________________________________ Dr. Jacqueline McIlwain, Committee Member Assistant Professor, Music ________________________________________________ Dr. Joseph Brumbeloe, Committee Member Associate
    [Show full text]
  • FRENCH CONCERTOS from the 19Th Century to the Present
    FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers L-Z ÉDOUARD LALO - see separate page SERGE LANCEN (1922-2005) Born in Paris. After some initial training, he studied the piano with Marguerite Long and Lazare Lévy as well as composition with Noël Gallon and Tony Aubin at the Paris Conservatory. In 1950 he was awarded the "Prix de Rome." He composed various genres of music including chamber music, works for piano, ballet music, a chamber opera and symphonic compositions. He excelled in music for band. Among his unrecorded concertante works are his Piano Concerto (1947-51), Piano Concertino (1949), Harmonica Concerto (1954), Violin Concerto (1966), Concerto Rhapsodie for Piano and Orchestra (1974), Concerto for Violin, Double Bass and Orchestra (1985) and Harp Concerto (1988). Concerto for Double Bass and String Orchestra (1962) Yoan Goilav (double bass)/Clemens Dahinden/Winterthur String Ensemble ( + Cooqui, Montag: Extrême, Bloch: Prayer, Mortari: Duettini Concertati, Schubert: Arpeggione Sonata and Sperger: Sonata à Due) TUXEDO MUSIC TUXCD 1205 (2001) (original LP release: CLASSIC PIC (70-121) (1976) Concerto Champêtre for Harp and Wind Orchestra (1968) Joke Brethouwer (harp)/Jan Cober/Brabant Conservatory Wind Orchestra ( + Trombone Concerto and Parade Concerto) MBCD 31.1016.72 (1990) Hélène Silvie (harp)/Désiré Dondeyne/Orchestra ( + Damase: Harp Concerto, Grandjany: Aria in Classic Style and Dondeyne Quintet for Harp ad String Quartet) QUANTUM QM 7030 (2004) Concerto da Camera for Flute and Orchestra (1962) Pedro Eustache (flute)/Daniel Chabrun/Orchestre de Chambre de l'ORTF ( + Printanieres, Leclair: Violin Concerto, and Boismortier: Flute Sonata) FRENCH BROADCASTING SYSTEM IN NORTH AMERICA, Programs 619-20 (2 non-commercial LPs) (c.
    [Show full text]
  • Musiciennes:Women Musicians in France During the Interwar Years
    Musiciennes: Women Musicians in France during the Interwar Years, 1919-1939 Laura Ann Hamer Submitted for the Degree of Doctor of Philosophy Cardiff University, 2009 UMI Number: U584377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584377 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The musical life of interwar France (1919-39) has fascinated many writers; however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre feminin de Paris are discussed within the context of the contemporaneous development of the all­ woman orchestra and rise of the first professional female conductors.
    [Show full text]
  • JULES MASSENET – His Life and Works by Nick Fuller I
    JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo.
    [Show full text]
  • A Pedogogical Discussion of Five French Twentieth
    A PEDOGOGICAL DISCUSSION OF FIVE FRENCH TWENTIETH-CENTURY PIANO PIECES FOR PROGRESSIVE STUDY by SHARLA ANN BENDER AMANDA W. PENICK, COMMITTEE CHAIR KEVIN T. CHANCE, CO-CHAIR THOMAS ROBINSON KENNETH B. OZZELLO LINDA PAGE CUMMINS MARGOT O. LAMME A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, AL 2014 Copyright Sharla Ann Bender 2014 ALL RIGHTS RESERVED ABSTRACT This document provides a pedagogical study of five works for younger pianists by twentieth- century French composers. The works are Jeu by Darius Milhaud, Petite suite serieuse pour concert de famille by Besty Jolas, Les fleurs endormies by Marcel Landowski, A la maniere…d’un violon by Raymond Loucher, and L’histoire de Babar by Francis Poulenc. Each work is published individually by the French editor Gerard Billaudot and is a part of a collection of twenty-seven teaching pieces specifically designated pour les jeunes (“for young people”). These works can be used as an introduction to modern French piano music for elementary through early-advanced students. This subject is of great importance as such works are rarely found in student-level repertoire and method books. The selections are presented in the order of progressive study, each accompanied with a detailed discussion, so that the teacher may decide on how best to integrate the compositions into their students’ training. It is possible to use all five pieces with one student in a graduated progression; but the discussions are presented with one composition per chapter so that an instructor may go immediately to the piece that most closely reflects their student’s current level.
    [Show full text]
  • Roger BOURDIN 1923-1976 DISCOGRAPHIE Non Exhaustive 01/07/2015 (Établie Par Denis Verroust, Dany Lallemand, Philippe Bourdin Et Christophe Hénault)
    1 Roger BOURDIN 1923-1976 DISCOGRAPHIE non exhaustive 01/07/2015 (établie par Denis Verroust, Dany Lallemand, Philippe Bourdin et Christophe Hénault) MUSIQUE CLASSIQUE Dans l’énoncé des titres, les tonalités sont abrégées; celles débutant par une minuscule sont mineures, et par une majuscule, majeures (Sol = sol majeur, sol = sol mineur). ARION • L’Art de la Flûte Vol. 2 La flûte traversière du XVIIe siècle à nos jours Marin MERSENNE Quatuor pour 4 flûtes (arr. R. Cotte) Michel BLAVET Rondeau pour flûte et hautbois Carl-Philipp-Emanuel BACH Sonate en la, Wq 132, pour flûte seule (extrait : Allegro) Jean-Baptiste LŒILLET Sonate en la pour flûte et guitare (extr. : Allegro) Wolfgang-Amadeus MOZART Andante en Ut, KV 315, pour flûte et harpe Friedrich-Daniel KUHLAU Quatuor en Mi, Op. 103, pour 4 flûtes (extr. : Scherzo) Hector BERLIOZ Trio des Jeunes Ismaélites, pour 2 flûtes et harpe (extr. de l’Oratorio “L’Enfance du Christ”) Alexandre TCHEREPNINE Quatuor pour 4 flûtes Jacques CASTEREDE Quatuor pour 4 flûtes “Flûtes en vacances” (extr. : Finale “Flûtes légères”) Claude DEBUSSY Syrinx pour flûte seule Jacques IBERT Entr’acte pour flûte et guitare Roger BOURDIN Sarabande pour flûte, hautbois et harpe Edgar VARESE Density 21.5, pour flûte seule André JOLIVET Ascèse n° 4 pour flûte en sol avec Annie Challan (harpe) - Emile Mayousse (hautbois) - Alberto Ponce (guitare) - Quatuor de flûtes Roger Bourdin (Roger Bourdin, Robert Hériché, Léon Gamme, Jacques Royer) Direction Artistique : Ariane Segal Prise de son : Claude Morel Date : 1968-1969 ? ARION - LP ARN 30 A 071 Reprises : L’Art de la Flûte La flûte à bec du Moyen Âge au XVIIIe siècle Roger Cotte - Le Groupe des Instruments Anciens de Paris La flûte traversière du XVIIe siècle à nos jours ARION - 2 LP St PA-1111-2 The Art of the flute MUSICAL HERITAGE SOCIETY - 2 LP MHS 3071-3072 (P.1972) The Art of the flute.
    [Show full text]
  • French Musical Broadcasting in 1938 Christophe Bennet
    French Musical Broadcasting in 1938 Christophe Bennet To cite this version: Christophe Bennet. French Musical Broadcasting in 1938 : An Ongoing Comparison of Radio-Paris and Radio-Cité. 2015. hal-01146855 HAL Id: hal-01146855 https://hal.archives-ouvertes.fr/hal-01146855 Preprint submitted on 29 Apr 2015 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. French Musical Broadcasting in 1938 – PLM – Christophe Bennet – May 2014 FRENCH MUSICAL BROADCASTING IN 1938: AN ONGOING COMPARISON OF RADIO-PARIS AND RADIO-CITÉ by Christophe BENNET WE are continuing our monitoring of the musical broadcasting of the prewar years through the comparison between Radio-Paris and Radio-Cité, two models of the French double “public / private” network. In 1937, one could observe that behind the general drop of the global figure of musical programs, those stations confirmed, by opposite artistic stances, their respective policies which corresponded to their conception of the media. In 1938, while government influence on the public stations is strengthening, without any benefit as regards the improvement of the programs, the commercial stations, fortified by some years of experience, adjust their time schedules in accordance with the success encountered by their new formulas.
    [Show full text]
  • Flutists' Family Tree : in Search of the American Flute School / by Demetra
    FLUTISTS’ FAMILY TREE: IN SEARCH OF THE AMERICAN FLUTE SCHOOL DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Demetra Baferos Fair, M.M. ***** The Ohio State University 2003 Dissertation Committee: Professor Katherine Borst Jones, Adviser Approved by Professor Lois Rosow Professor Christopher Weait Adviser School of Music Copyright by Demetra Baferos Fair 2003 ABSTRACT For decades, American flutists have sought to identify specific traits that define their playing as a whole. While the “French School” has been characterized by a preoccupation with tone, a standard repertoire, and set of teaching materials written by Paris Conservatoire professors, no such definition can yet be set forth for the “American School.” This document provides a clear starting point for research into the what, where, why, and how of the “American Flute School” by first identifying who is associated with that school. By tracing the lineage of transverse flute playing from teacher to student through the past 300 years, we may identify orchestral flutist, soloist, and teacher, Georges Barrère, as a primary influence upon American flute playing. Barrère and his students – and his students’ students – have taught approximately 91% of all living flutists in the United States today. Of that vast number, approximately 87% can trace their heritage (through one or more of their teachers) to Barrère student William Kincaid, renowned flutist of the Philadelphia Orchestra and pedagogue at the Curtis Institute of Music. It is important to note that most modern musicians study with more than one teacher over the course of their career (usually between three and eight).
    [Show full text]