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Le Scandale Au Théâtre Des Années 1940 Aux Années 1960 Delphine Aebi
”Il faut trouver un modus vivendi” : le scandale au théâtre des années 1940 aux années 1960 Delphine Aebi To cite this version: Delphine Aebi. ”Il faut trouver un modus vivendi” : le scandale au théâtre des années 1940 aux années 1960. Littératures. Université de Grenoble, 2011. Français. NNT : 2011GRENL025. tel-01214959 HAL Id: tel-01214959 https://tel.archives-ouvertes.fr/tel-01214959 Submitted on 15 Oct 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. THÈSE Pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ DE GRENOBLE Spécialité : Littérature Française Arrêté ministériel : 7 août 2006 Présentée par Delphine AEBI Thèse dirigée par Claude Coste préparée au sein du Laboratoire Traverses 19-21 Equipe de recherches sur la Crise de la Représentation (E.CRI.RE) dans l'Ecole Doctorale « Langues, Littératures et Sciences Humaines » - n° 50 « IL FAUT TROUVER UN MODUS VIVENDI » Le scandale au théâtre des années 1940 aux années 1960 Thèse soutenue publiquement le 6 juin 2011, devant le jury composé de : M. Claude COSTE Professeur à l'Université Grenoble 3 – Stendhal, Membre Mme Marie DOLLE Professeur à l'Université de Picardie Jules Verne, Rapporteur M. -
Works Performed on Musical Club of Hartfort Programs by Musical Club of Hartford Members
WORKS PERFORMED ON MUSICAL CLUB OF HARTFORT PROGRAMS BY MUSICAL CLUB OF HARTFORD MEMBERS - SEPT 2014 thur MAR 2, 2017 ARRANGED ALPHABETICALLY BY COMPOSER, TITLE OF WORK 2017 2-Mar Guitar, Mandolin Acevedo Basileirinho Handler, Levesque 2017 2-Mar Guitar, Mandolin Acevedo Pedacinhos do Ceu Handler, Levesque 2016 28-Apr Guitar, Mandolin Acquavella Yutuma Handler, Levesque 2015 5-Nov Piano Albeniz Almeria (from the Rose Iberian Suite) 2015 24-Sep Piano Albeniz Suite Iberia, Book I III. Fete a Dieu en Garrido-Cid Seville (Corpus Christi en Sevilla) 2015 24-Sep Soprano, Piano, Allen, Virginia Fanfare to the Matteson, Garrido-Cid, 4 hands, Violin, Musical Club Duffy, V. Allen, *Gene Viola, Cello Chen, H. Walker 2016 8-Dec Mezzo-soprano, Andersson, Rice, I Know Him So Well, Fitzgerald, Matteson, Soprano, Piano Ulvaeus from Chess Gariddo-Cid 2017 12-Jan Hammer Anon., Spanish, Romanza Monstream, Mazza- Dulcimer, Guitar 19th cent. Dixon 2014 23-Oct Piano Trio Arensky Piano Trio No. 1 in D Cahoon, L. Kugelman, Minor Bard 2016 20-Mar 1 Piano, 4 Hands Arensky Six Children's 4. Waltz; 6. Fugue Switaj, Tan Pieces, Op. 34 on a Russian Theme 2015 22-Mar 2 Pianos, 4 Arensky Suite for Two Pianos, II. Valse Cahoon, D. Day Hands Op. 15 2016 14-Jan Contralto, Piano Arien Stormy Weather Girard, D. Fine 2016 20-Mar 1 Piano, 4 Hands Auric Five Bagatelles Switaj, Tan 2016 7-Apr Soprano, Piano Austin, Elizabeth A Birthday Bouquet 1. for your birthday M. Kennedy, E. Austin (1990) for high voice (e.e. commings) 2016 7-Apr Piano Austin, Elizabeth A Child's Garden of [12 pieces] Woodard (1-6), E. -
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. -
Catalogue Chronologique Des Œuvres De Francis Poulenc
CATALOGUE CHRONOLOGIQUE DES ŒUVRES DE FRANCIS POULENC Légende : [œuvre inédite] [œuvre détruite] [œuvre perdue] 1 [Processionnal pour la crémation d’un mandarin] 2 [Préludes pour piano] 1918 3 Rhapsodie nègre, œuvre pour voix et piano 4 [Scherzo à quatre mains] 5 [Trois pastorales pour piano] 6 [Poèmes sénégalais] 1919 7 Sonate pour 2 clarinettes, œuvre de musique de chambre 8 Sonate pour piano à quatre mains, œuvre pour piano 9 [Prélude-percussion] 10 [Le Jongleur] 11 Toréador (Cocteau), œuvre pour voix et piano 12 [Sonate pour violon et piano n°0] 13 [Sonate pour violon, piano et violoncelle] 1920 14 3 Mouvements perpétuels, œuvre pour piano 15 Le Bestiaire (Apollinaire), œuvre pour voix et piano 16 Cocardes (Cocteau), œuvre pour voix et piano 17 Valse 18 [Quadrille à quatre mains] 19 Suite en 3 mouvements, œuvre pour piano 20 Le gendarme incompris, œuvre pour la scène 21 5 Impromptus, œuvre pour piano 1921 22 Quatre poèmes de Max Jacob, œuvre pour voix et piano 23 Les mariés de la Tour Eiffel, œuvre pour orchestre 24 10 Promenades, œuvre pour piano 25 Esquisse pour une fanfare, œuvre pour la scène 26 [Trois études de pianola] 27 [Suite d’orchestre n°1] 28 [Quatuor à cordes n° 1] 29 [Trio pour piano, clarinette et violoncelle] 30 [Marches militaires pour piano et orchestre] 1 1922 31 Chanson à boire, œuvre chorale profane 32 Sonate pour clarinette et basson, œuvre de musique de chambre 33 Trio pour cor, trompette et trombone, œuvre de musique de chambre 34 [« Caprice espagnole »] 1923 35 [Récitatifs pour La Colombe -
Songs and Chamber Music of Reynaldo Hahn and Francis Poulenc
Songs and Chamber Music of Reynaldo Hahn and Francis Poulenc ! In 2013 I was asked to curate a series of three concerts at the Brighton Festival and I chose to focus on the chamber music and songs of Poulenc and Hahn. !“Les chansons instrumentales” The series was partly a commemoration of the fiftieth anniversary of the death of Poulenc, and partly a study in the contrasting musical styles, and wholly a !celebration of French music. It was a wonderful opportunity to explore the relatively unknown chamber music and songs by Reynaldo Hahn, a composer that I have always admired and who’s compositional style I feel suits my artistic temperament. We had a wonderful time performing his songs, the epic piano quintet and charming piano quartet as well as some works for flute and piano, and flute, viola and !piano. The series was very popular with the audience, and we received a lot of feedback, especially to say how much the audience enjoyed the unusual !pieces by Hahn. Les Chanson Instrumentales: Part 1: Wednesday 15 May 2013 Partly a commemoration of the fiftieth anniversary of the death of Poulenc, partly a study in contrasting musical styles, and wholly a celebration of French music, this series of chamber concerts reunites many of the artists who began their careers in our Lunchtime concerts. Curated by the pianist James Baillieu, who made a big impression in last year’s Festival, it is a chance to explore the charm and originality of the French chamber music repertory. The Irish soprano Ailish Tynan is noted for the breadth of her repertory, and is a noted exponent of French song. -
MARCH 2017 Director’S Introduction
JANUARY – MARCH 2017 Director’s Introduction ©Frances Marshall Photography Receptive to life and death, and aware of the spiritual depths of both, Schubert probed the heart of the human condition in his unsurpassed, and almost certainly unsurpassable, output of 600-plus songs. Wigmore Hall’s Schubert: The Complete Songs series offers audiences the chance to experience the full range of this extraordinary creative achievement as it continues through 2017. Grammy-nominated pianist, bandleader and composer Vijay Iyer starts his Jazz Residency at Wigmore Hall. The American musician, born in 1971 in New York, has been described by Los Angeles Weekly as ‘a boundless and deeply important young star’ and by the Guardian as being ‘at a dizzying pinnacle of contemporary jazz multitasking’, verdicts reinforced by a string of awards and five-star reviews. Patricia Kopatchinskaja, our Artist in Residence, launches her Wigmore Hall series with the first of three concerts crafted to show the versatility, curiosity and wide musical passions of a true pioneer among today’s performers. The Moldovan-Austrian violinist is equally at home with period performance styles as she is when bringing contemporary compositions to life or casting fresh interpretative light on the most familiar of chamber works. Spread over the course of four seasons, Angela Hewitt: The Bach Odyssey gathers momentum with a concert devoted to Bach’s six French Suites. Angela Hewitt’s affinity for Bach flows naturally from Peter Dazeley her strong connection with the composer’s dance rhythms and from Paul Lewis’s pianism, eloquent and fully alive, is the result of a harmonious her exquisite feeling for lyrical phrasing, contrapuntal clarity and marriage between deep thinking about music and unrestrained physical sensitive articulation. -
Sonatas &Liebeslieder
Johannes BRAHMS Sonatas & Liebeslieder for cello and piano EMMANUELLE BERTRAND PASCAL AMOYEL FRANZ LISZT JOHANNES BRAHMS (1833-1897) Cello Sonata no. 1 op. 38 E minor / Mi mineur / e-Moll 1 | I. Allegro non troppo 14’45 2 | II. Allegretto quasi Menuetto 5’36 3 | III. Allegro 6’32 Six Love Songs / Six Chants d’amour / Sechs Liebeslieder * 4 | 1. Feldeinsamkeit op. 86 no. 2 3’28 5 | 2. Wie Melodien zieht es mir leise durch den Sinn op. 105 no. 1 1’46 6 | 3. Sapphische Ode op. 94 no. 4 1’59 7 | 4. Wiegenlied op. 49 no. 4 2’04 8 | 5. Liebestreu op. 3 no. 1 2’25 9 | 6. Minnelied op. 71 no. 5 2’49 10 | Immer leiser wird mein Schlummer op. 105 no. 2 * 4’2 Cello Sonata no. 2 op. 99 F major / Fa majeur / F-Dur 11 | I. Allegro vivace 8’49 12 | II. Adagio affettuoso 6’51 13 | III. Allegro passionato 7’29 14 | IV. Allegro molto 4’28 Hungarian Dance no. 1 * G minor / Sol mineur / g-Moll 15 | Allegro molto 3’09 Hungarian Dance no. 5 * F-sharp minor / Fa dièse mineur / fis-Moll 16 | Allegro 2’19 * transcriptions for cello and piano Emmanuelle Bertrand, cello Pascal Amoyel, piano Sonates de chambre Brahms et les voix du violoncelle Dans la magistrale Kammermusik de Brahms – vingt-quatre partitions sans rivales dans la seconde moitié du XIXe Confié aux meilleurs maîtres de Hambourg pour le piano et la composition, Johannes Brahms a été initié au cor et aux siècle – le violoncelle bénéficie de mémorables solos, tels ceux de l’Allegro initial du Premier Sextuor à cordes et de o instruments à cordes par son père, musicien autodidacte aux capacités multiples. -
The Los Angeles Academy of Vocal Arts
University of Central Florida STARS Harrison "Buzz" Price Papers Digital Collections 6-7-1982 Application for Grant: The Los Angeles Academy of Vocal Arts Harrison Price Company Part of the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/buzzprice University of Central Florida Libraries http://library.ucf.edu This Report is brought to you for free and open access by the Digital Collections at STARS. It has been accepted for inclusion in Harrison "Buzz" Price Papers by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Harrison Price Company, "Application for Grant: The Los Angeles Academy of Vocal Arts" (1982). Harrison "Buzz" Price Papers. 121. https://stars.library.ucf.edu/buzzprice/121 I I I l I I I APPLICATION FOR GRANT Prepared for : I · Th e Los An geles Academy of Vocal Arts I June 7 , 1982 I I I I I I I I I I I I HARRISON PRICE COMPANY I June 7, 1982 I Mr. Daniel Selznick Louis B. Mayer Foundation 9441 Wilshire Boulevard I Beverly Hills, CA 90212 I Dear Mr . Selznick: The purpose of this letter is to submit to the Louis B. Mayer Fo undation an application for a planning grant for and I on behalf of the Los Angeles Academy of Vocal Arts. The Lo s Angeles Academy of Vocal Arts is a proposed teaching institution formed under the leadership and direction of Mr. I Seth Riggs. Its program will offer a comprehensive and intensive instruction for a full time enrollment of 20 singers with recognized talent and professional potential . -
September 2016 – July 2017
SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music. -
Regards Sur Les Compositeurs Tourangeaux
51 GRANDS PERSONNAGES DE TOURAINE REGARDS SUR LES COMPOSITEURS TOURANGEAUX François LE ROUX* RÉSUMÉ Nous nous attachons ici à suivre six compositeurs qui se sont illustrés dans l’écriture des mélodies françaises. Deux sont nés en Touraine : Charles Bordes et René de Buxeuil ; deux y ont vécu un temps, Emmanuel Chabrier et Francis Poulenc, et deux y vivent, Henri Dutilleux et Jack Ledru. ABSTRACT Here we are interested in dealing with six composers who were noted for composing French songs. Two were born in Touraine, Charles Bordes and René de Buxeuil, two lived there for a time, Emmanuel Chabrier and Francis Poulenc, and two live there presently, Henri Dutilleux and Jack Ledru. La Touraine est depuis toujours une terre d’accueil pour les artistes. Les compositeurs, qui suivaient les rois au fil de la Loire, furent nombreux, et les spécialistes de la musique de la Renaissance en ont parlé. Ici, nous allons nous attacher à suivre six compositeurs qui se sont illustrés dans l’écriture de mélo- dies françaises, répertoire patrimonial fabuleux que le Centre international de * Chanteur lyrique, fondateur de l’Académie Francis Poulenc et membre de l’Académie de Touraine. Mémoires de l’Académie des Sciences, Arts et Belles-Lettres de Touraine, tome 24, 2011, p. 51-66. 52 la Mélodie Française-Académie Francis Poulenc de Tours (honoré par l’Aca- démie de Touraine il y a quelques années) que j’ai fondé en 1997, s’attache à défendre et promouvoir. Deux sont nés en Touraine. Quatre d’entre eux : Charles Bordes, Emmanuel Chabrier, Francis Poulenc et Henri Dutilleux sont au programme de la session d’août 2011 de l’Académie Francis Poulenc d’interprétation de la mélodie. -
January 2017
January 2017 Vijay Iyer INSIDE: Arcangelo Cuarteto Casals Alice Coote Julia Fischer Gould Piano Trio Angela Hewitt Elisabeth Leonskaja Soloists of Les Arts Florissants Igor Levit Nash Ensemble Vienna Piano Trio Roderick Williams and many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–X Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – X AAAA AAAA Lowest price This brochure is available in alternative formats. -
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.