Georges Auric (1899-1983)
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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. -
61 CHAPTER 4 CONNECTIONS and CONFLICT with STRAVINSKY Connections and Collaborations a Close Friendship Between Arthur Lourié A
CHAPTER 4 CONNECTIONS AND CONFLICT WITH STRAVINSKY Connections and Collaborations A close friendship between Arthur Lourié and Igor Stravinsky began once both had left their native Russian homeland and settled on French soil. Stravinsky left before the Russian Revolution occurred and was on friendly terms with his countrymen when he departed; from the premiere of the Firebird (1910) in Paris onward he was the favored representative of Russia abroad. "The force of his example bequeathed a russkiv slog (Russian manner of expression or writing) to the whole world of twentieth-century concert music."1 Lourié on the other hand defected in 1922 after the Bolshevik Revolution and, because he had abandoned his position as the first commissar of music, he was thereafter regarded as a traitor. Fortunately this disrepute did not follow him to Paris, where Stravinsky, as did others, appreciated his musical and literary talents. The first contact between the two composers was apparently a correspondence from Stravinsky to Lourié September 9, 1920 in regard to the emigration of Stravinsky's mother. The letter from Stravinsky thanks Lourié for previous help and requests further assistance in selling items from Stravinsky's 1 Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the 61 62 apartment in order to raise money for his mother's voyage to France.2 She finally left in 1922, which was the year in which Lourié himself defected while on government business in Berlin. The two may have met for the first time in 1923 when Stravinsky's Histoire du Soldat was performed at the Bauhaus exhibit in Weimar, Germany. -
California State University, Northridge Jean Cocteau
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Poulenc, Francis (1899-1963) by Mario Champagne
Poulenc, Francis (1899-1963) by Mario Champagne Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Francis Poulenc with harpsichordist Wanda Landowska. One of the first openly gay composers, Francis Poulenc wrote concerti, chamber music, choral and vocal works, and operas. His diverse compositions are characterized by bright colors, strong rhythms, and novel harmonies. Although his early music is light, he ultimately became one of the most thoughtful composers of serious music in the twentieth century. Poulenc was born on January 7, 1899 into a well-off Parisian family. His father, a devout Roman Catholic, directed the pharmaceutical company that became Rhône-Poulenc; his mother, a free-thinker, was a talented amateur pianist. He began studying the piano at five and was following a promising path leading to admission to the Conservatoire that was cut short by the untimely death of his parents. Although he did not attend the Conservatoire he did study music and composition privately. At the death of his parents, Poulenc inherited Noizay, a country estate near his grandparents' home, which would be an important retreat for him as he gained fame. It was also the source of several men in his life, including his second lover, the bisexual Raymond Destouches, a chauffeur who was the dedicatee of the surrealistic opera Les mamelles de Tirésias (1944) and the World War II Resistance cantata La figure humaine (1943). From 1914 to 1917, Poulenc studied with the Spanish pianist Ricardo Viñes, through whom he met other musicians, especially Georges Auric, Erik Satie, and Manuel de Falla. -
"Springtime in France: Music of Les Six" Featuring Pianist
CONTACT: Adriane Cleary Marketing and Communications Manager Remote work number available upon request [email protected] music.ucsb.edu FOR IMMEDIATE RELEASE / April 21, 2021 UC SANTA BARBARA DEPARTMENT OF MUSIC PRESENTS “SPRINGTIME IN FRANCE: MUSIC OF LES SIX” FEATURING PIANIST DR. NATASHA KISLENKO AND FRIENDS Faculty pianist Dr. Natasha Kislenko and special guests Richie Hawley, Matthew Swihart, Chavdar Parashkevov, and Tali Morgulis present music by Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre Santa Barbara, CA (April 21, 2021)—The UC Santa Barbara Department of Music will present a virtual chamber music recital, “Springtime in France: Music of Les Six,” on Friday, May 7, 2021 at 6 pm PDT as a YouTube Premiere via the Department of Music’s YouTube channel. The concert will feature UC Santa Barbara faculty member and pianist Dr. Natasha Kislenko and special guests, including clarinetist Richie Hawley, trumpeter Matthew Swihart, violinist Chavdar Parashkevov, and pianist Tali Morgulis. The program will include solo and chamber works by the members of Les Six—Arthur Honegger, Georges Auric, Darius Milhaud, Germaine Tailleferre, Francis Poulenc, and Louis Durey. Following ideas of the well-known poet and playwright Jean Cocteau and composer Erik Satie, this group of young composer friends came together in their negative reaction to weighty German romanticism and complex writings of Debussy and Ravel in the years post-World War I. They took their inspiration from street and cafe music in Paris, as well as the transparent writing style of the old masters such as Jean- Philippe Rameau and Jean-Baptiste Lully. -
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. -
Georges Auric Raymond Radiguet Album Album
ALPHABET Georges Auric Raymond Radiguet Album Album Apprendre n'est pas un pensum To learn is not a chore Lectrice qui ne savez lire The reader who doesn’t know how to Ayez grand soin de cet album read Né du plus funeste délire Would take great care of his album Born of the most fatal delirium Bateau Ship Bateau debout bateau hagard Ship vertical, ship in distress La danseuse sans crier gare The dancer, without warning Sans même appeler les pompiers Without even calling the pump men Mourut sur la pointe des pieds Died on tiptoe Domino Domino Le domino, jeu des ménages Dominoes, household game Embellit les soirs de campagne. Makes the country nights pleasant. Du grand-père écoutons l'adage: Let’s heed grandfather’s adage: « Qui triche enfant finit au bagne » “Whoever deceives a child ends up in prison” Filet à papillons Butterfly net « Papillon, tu es inhumain! “Butterfly, “you are inhuman! Je te poursuis depuis hier » I have been following you since Ainsi parlait une écolière yesterday” Que j'ai rencontrée en chemin Thus spoke a schoolgirl That I met on the path Mallarmé Mallarmé Un éventail qui fut l'oiselle A fan which was the female bird Exquise des rudes étés Exquisite of the harsh summers Effleure fraîchement de l'aile Brushes coolly against the wing L'oiseau peint sur la tasse à thé Of the male bird painted upon the teacup Hirondelle Swallow Comme chacun sait l'hirondelle As everyone knows, the swallow Annonce la belle saison Announces the coming of summer Elle n'a pas toujours raison She is not always right Cependant nous croyons -
Harmonic Techniques in Maurice Ravel's Opera L'enfant Et Les
Wesleyan University The Honors College Harmonic Techniques in Maurice Ravel’s Opera L’enfant et les sortileges by Benjamin Manning Class of 2016 A thesis essay submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Music Middletown, Connecticut April, 2016 1 Many recent investigations concerning the music of Maurice Ravel have invariably resulted in attempts to unmask the enigmatic figure behind the music.1 While this research has been incredibly fruitful, the desire to uncover more about this mysterious individual may distract us from a rigorous analysis of his ingenious music itself. Undoubtedly, Ravel led a secretive and solitary life, and much is left to unearth about this unusual composer. Ravel is nothing, however, without his music—we would have no interest in the man if not for his compositions. And while it is true that the biography of a composer may provide insight into his or her music, it is inversely the case that the study of the music itself may provide concealed information about the life of its composer and the methods behind its composition. This study will therefore uncover the techniques used by Ravel, specifically in the first half of his opera L’enfant et les sortileges, and, in doing so, provide a springboard for new perspectives on both Ravel and his music. L’enfant et les sortileges represents some of Ravel’s most adventurous work and contains some of his boldest harmonic experiments. Though he received the completed libretto in 1918, Ravel did not supply the music until seven years later, delaying the opera’s premiere to March 21, 1925.2 During these post-war years, two primary streams of influence added to the already-rich harmonic lexicon that Ravel had developed early in his career: the group of French musicians collectively known as Les Six, and jazz music, which gained a significant French following in the 1920s. -
Le Cas Satie'
CONTEMPORARY CRITICISM AND 'LE CAS SATIE' by KARIN SANDBERG-BRENNAN B.Mus., San Francisco State University, 1980 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Music Department We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA June 1983 © Karin Sandberg-Brennan, 1983 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Music The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date: 10 June 1983 i i Abstract While scholars recognize Satie's important influence on the music of our century, the extent and specific nature of his influence has yet to be defined. Focusing on analyses of his personality and his music, modern literature continually neglects to study Satie's historical importance. It is his so- called bizarre and eccentric personality and the pretended simplicity of his musical style that have, in general, attracted modern authors' attention. Consequently, a controversy known as "Le Cas Satie" has developed: How could an eccentric composer whose music is frequently considered inconsequential, have truly exerted the great influence attributed to him in modern literature? If Satie's historical position is to be understood, modern literature's portrayal of the composer must be examined for accuracy, and the extent of his impact must be clarified. -
But It's Not in the Myth--Some Idea for Course and Unit Design Using Classical Mythology in the Arts
DOCOHEHT RESUME ED ,131 498 CS 203 081 1DTHOH Smith, Ron TITLE But I£ §'s Rot in the Hyth--Some Ideas for Course and * Unit Design Using Classical Mythology in the,Arts. PDB D1TE 76 . - ; HOTE r 9P. EDBS PRICE MF-$0^83 HC-S1.67 Plus Postage. DESCRIPTORS Art; Course Descriptions; *English Curriculum; Higher Education; *Literature Appreciation; -Music; *Mythology . ABSTRACT - ' ' The origin and characteristics of an English course on classical mythology in Western art are described as a basis for suggestions about the use of art and music to accompany the study of mythology. Various versions of each myth are explored in the course. *********************************************************s************** * Documents acquired by ERIC include many informal unpublished * materials not available from other sources. EBIC makes every effort H to obtain the best copy available. Nevertheless, items of marginal 4 * reproducibjy.ity are 'often encountered and this affects the guality * of the microfiche and hardcopy reproductions ERIC makes available * via the ERIC Document Reproduction Service (EDRS). EDRS is not . * responsible for the gnality of the original document. Reproductions * supplied by EDRS are the best that can be made from the original. EDUCATION A WELFARE NATIONAL INSTITUTE OF ,. EDUCATION THIS 'DOCUMENT -MiAS BEEN REPRO- - ' " _ . .OUCEO EXACTLY '.'*» RECEIVED FROM, HOH THE PERSO>5 OR ORGANIZATION ORIGIN- > * STiNG STATEDIT DOPOINTS NOT NECESSARILYOF Vlfr * OR OPINIONS REPRE- i utan'-. otatc_ .... university .. SENT Of FICIAL N»tlON*L INSTITUTE Of ' , . fDUCATlON POSITION OR. POLICY . ,'' , . __. " V BUT IT rS NOT IS THE MYTHI . SOME IDEAS FOR COURSE AND UNIT DESIC2J USING'" , ' CLASSICAL MYTHOLOGY IN THE ARTS * . We're all thorou^ly well acquainted with the myth of thpse two extraordlnar 'j ' ily devoted lovers Orpheus and "Burydice. -
Hercules, Vampires, and the Opera of Attractions Brooke Mccorkle
Hercules, Vampires, and the Opera of Attractions Brooke McCorkle Preface If, as Marshall McLuhan famously claimed, that “the medium is the message,” what then is the message of the increasing number of hybridic music-media events appearing in concert halls across the globe?1 A revolutionary heterogeneity of mediums characterizes three main types of concerts that have arisen in the late twentieth and early twenty-first centuries: first, there are the live-to-projection film concerts (what I call cine-concerts) in which orchestras perform a score live with a film screened in its entirety. Video game symphonies performed live with projections of pre-recorded gameplay represent a second example of intermedial performance. And finally, opera productions with significant amounts of prerecorded visual media represent a third type. Among these three examples, the interaction between visual projections and opera is of course the oldest, dating back to the magic lanterns that dazzled nineteenth-century audiences.2 Scholars such as Marcia Citron, Jeremy Tambling, Jeongwon Joe, Rose Theresa, and Michal Grover-Friedlander have thoroughly interrogated the intersection of opera and film.3 I seek to build on their scholarship via an analysis of an opera that encapsulates the friction between the live and the recorded, the popular and the elite, the Apollonian and Dionysian: Hercules vs. Vampires. Introduction “Action packed, outlandish, and fun for the whole family”-Arizona Opera “Music, muscles, myth – this show has everything!”- North Carolina Opera 1 Marshall McLuhan, “The Medium is the Message,” in Understanding Media: The Extensions of Man, 2nd edition (New York: Signet, 1964), 23-35.