Erik Satie (1866-1925)
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New and Old Tendencies in Labour Mediation Among Early Twentieth-Century US and European Composers
Anna G. Piotrowska New and Old Tendencies in Labour Mediation among Early Twentieth-Century U.S. and European Composers: An Outline of Applied Attitudes1 Abstract: New and Old Tendencies in Labour Mediation among Early Twen- tieth-Century U.S. and European Composers: An Outline of Applied Atti- tudes.This paper presents strategies used by early twentieth-century compos- ers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expecta- tions of his position within society. An analysis of written accounts by com- posers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition. Key Words: composers, 20th century, employment, vacation, film industry, patronage, foundations Introduction Strategies undertaken by early twentieth-century composers to secure their income were highly determined by their position within society.2 Already around 1900, composers confronted a new reality: the definition of a composer inherited from earlier centuries no longer applied. As will be demonstrated by an analysis of their Anna G. Piotrowska, Institute of Musicology, the Jagiellonian University (Krakow), ul. Westerplatte 10, PL-31-033 Kraków; [email protected] ÖZG 24 | 2013 | 1 131 memoirs, diaries and correspondence, those educated as professional musicians and determined to make their living as active composers had to deal with similar career challenges – regardless of their origins (British, German, French, Russian or Ameri- can), their artistic preferences, or their family backgrounds. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Toplis, Gloria. 1983. ‘Stravinsky’s Pitch Organisation Re-Examined’. Contact, 27. pp. 35-38. ISSN 0308-5066. ! 36 material, each involving different textures, registers, Example 1 harmonies, rhythms, and metres, are set synchro- nically side by side; when considered apart from their immediate context, the blocks may be seen to possess one or another of these parameters in common.' The same author has defined the structur- ing of the first movement of the Symphony in C ( 1938- 40)-one of the neoclassical works most obviously conform to the dictates of functional tonality. The akin in spirit to Classical models-not in terms of the appropriateness of the octatonic theory to Stravin- tonal relationships of sonata form, but in terms of the sky' s output becomes increasingly obvious the more temporal proportion to one another of the sections closely the constitution of the scale itself is examined. (established by means of rather ill-defined tonal For example, each degree articulating a division at areas), which is very much the same as that of a the minor third supports both a minor and a major typical sonata form movement. 3 triad-in Example 1 C supports the triads C-E flat-G Stravinsky students in the sixties were strongly and C-E-G, E flat supports the triads E flat-G flat-B influenced by the somewhat scathing and (in the flat and E flat-G-B flat, and so on; overlapping opinion of later analysts) harmful remarks of Pierre tetrachords a minor third apart contain interlocking Boulez on the composer's compositional technique in minor/major thirds-C-C sharp-D sharp-E, D sharp- works following The Rite of Spring (1911-13). -
High Fidelity's Description ) a D Q F L V F R (Modem Music, 1944
) ( ' / "New York-born composer whom a good many of York Times and leading magazines. his American colleagues regard as the best musical Arthur Berger was born in New York City on May stylist among them," is High Fidelity's description 15, 1912. When his family acquired a piano in 1921, of Arthur Berger (Feb., 1957). His stylism is marked his older sister received piano lessons which he by a highly personal stamp and capacity for precise learned before she did, and he played by ear. Between shape. Time Magazine (April 27, 1953) stated "it eleven and sixteen, aside from piano lessons, he was clear that Berger had a style of his own." was musically self-taught, and by 1928 when he "Clarity, refinement, perfect timing and impecca- entered New York City College he was writing tra- bly clean workmanship are the keynotes to his style," ditional sonatas. Since the College offered little in wrote Alfred Frankenstein (San F~ancisco Chronicle, music he later transferred to New York University, June 6, 1948). He "is the sort of musician who thinks working mainly in the education division with Vincent twice before he reaches for the staff-paper." In the Jones. There, along with two fellow students, he same vein Darius Milhaud remarked on his "loving extolled Charles lves as early as 1930, entered the attention to minute detail" (Modem Music, 1944). vital set that Henry Cowell attracted, and also became The Time article already quoted points out that part of the Young Composers Group that formed after a work '.'is technically finished, Berger often around Aaron Copland as guardian. -
Debussy Clair De Lune Mp3, Flac, Wma
Debussy Clair De Lune mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Clair De Lune Country: Europe Released: 1991 Style: Classical MP3 version RAR size: 1113 mb FLAC version RAR size: 1776 mb WMA version RAR size: 1328 mb Rating: 4.8 Votes: 309 Other Formats: DXD FLAC AUD VOC ASF RA VOX Tracklist 1 –Francis Poulenc Nocturne No. 1 3:21 2 –Francis Poulenc Nocturne No. 2 1:28 3 –Francis Poulenc Nocturne No. 3 1:41 4 –Francis Poulenc Presto 1:39 From Improvisations 5 –Francis Poulenc No. 10: Eloge Des Gammes 1:25 6 –Francis Poulenc No. 12: Hommage À Schubert 2:11 7 –Francis Poulenc No. 15: Hommage À Edith Piaf 3:32 8 –Francis Poulenc Intermezzo No. 2 4:01 Suite: Pour Le Piano 9 –Claude Debussy Prélude 3:55 10 –Claude Debussy Sarabande 5:13 11 –Claude Debussy Toccata 3:47 - 12 –Erik Satie Gnossienne No. 4 3:01 13 –Erik Satie Gnossienne No. 5 3:42 14 –Erik Satie Ogive No. 1 3:07 15 –Erik Satie Ogive No. 2 2:48 16 –Erik Satie Vaisseaux 1:41 17 –Erik Satie Casque 0:57 18 –Erik Satie Celle Qui Parle Trop 1:02 19 –Erik Satie Espagnagna 1:20 From Embryons Desséchés 20 –Erik Satie D'Edriophthalma 2:09 21 –Erik Satie De Podophthalma 1:37 - 22 –Claude Debussy Clair De Lune 5:50 23 –Francis Poulenc Mouvement Perpétuel No. 1 1:19 24 –Francis Poulenc Mouvement Perpétuel No. 2 1:43 25 –Francis Poulenc Mouvement Perpétuel No. 3 2:48 26 –Erik Satie Gymnopédie No. -
This Month's Highlights Release Date - Friday 30Th November 2018
DECEMBER 2018 DEALER INFORMATION SERVICE: NO. 323 THIS MONTH'S HIGHLIGHTS RELEASE DATE - FRIDAY 30TH NOVEMBER 2018 Download this month's information here: www.selectmusic.co.uk - USERNAME: dealer • PASSWORD: select All orders must be received a week prior to release date. Orders are shipped on the Wednesday preceding release date Please click on a label below to be directed to its relevant page. Thank you. CDs Accentus Music Hortus APR Kairos Arco Diva Melodiya BIS Orfeo Claudio Records Paladino Music Continuo Classics Profil CPO Prophone Dacapo Raumklang DB Productions Resonus Classics Delos Rondeau Production Divox Somm Recordings Doremi Sono Luminus Drama Musica Steinway & Sons Dynamic Toccata Classics Edition S Tudor Fondamenta Varese Sarabande Gramola Wergo DVDs Accentus Music Dynamic C Major Entertainment Vai Select Music and Video Distribution Limited Unit 8, Salbrook Industrial Estate, Salbrook Road, Salfords Redhill RH1 5GJ Tel: 01737 645600 • Fax: 01737 644065 • E: [email protected] • E: [email protected] • Twitter: @selectmusicuk Highlight of the Month Pascal Dusapin À quia; Aufgang; Wenn du dem Wind … Nicolas Hodges, Carolin Widmann, Natascha Petrinsky, Orchestre National des Pays de la Loire, Pascal Rophé BIS2262 £9.00 SACD 30/11/18 BIS About this Release Pascal Dusapin has composed a number of works for the stage, one of the more recent being the opera Penthesilea, after the play by Heinrich von Kleist. From the opera he has also fashioned Wenn Du dem Wind…, the concert suite which opens this disc. Although beginning and ending with a single line from a solo harp, throughout its course takes the listener through the extremes of love, war and the demands of inflexible laws. -
De Lully À Stravinsky Mercredi 20 Juin 2018 Musique
8 DE LULLY À STRAVINSKY MERCREDI 20 JUIN 2018 MUSIQUE DE LULLY À STRAVINSKY CATALOGUE N°8 Ce catalogue égrène les notes de trois siècles de musique, à travers lettres et manuscrits des plus grands génies : Lully, Mozart, Bee- thoven, Rossini, Liszt, Mendelssohn, Schumann, Berlioz, Brahms, Wagner, Tchaïkovski, Mahler, Debussy, Ravel, Puccini, Stravinsky, Bartók, Prokofiev, Poulenc, et tant d’autres. À côté de la musique française et de la musique allemande et autrichienne qui se taillent la part du lion, c’est toute l’Europe musicale qui défile entre ces pages. Les manuscrits musicaux sont d’une grande diversité : esquisses, pages d’album, manuscrits de travail, fragments ou manuscrits complets, comme celui de l’opéra de Massenet La Navarraise; musique religieuse ou profane, pièces pour piano, musique de chambre ou musique symphonique, mélodies ou opéras… Les lettres nous font entrer dans l’intimité ou dans le cabinet de travail du compositeur : correspondances familiales, lettres aux amis, lettres d’affaires et de soucis d’argent, mais aussi lettres aux librettistes, aux interprètes, aux éditeurs, lettres d’élèves au maître (Reynaldo Hahn ou Ernest Moret à Massenet), du maître à l’élève (la belle correspondance de Darius Milhaud); ou échanges de musiciens entre eux, comme la belle lettre de Liszt à Berlioz. Ce ne sont là que quelques-unes des pièces de ce catalogue qu’on peut lire comme on tourne les pages d’une partition… 1 INFORMATIONS ET SERVICES POUR CETTE VENTE SAS CLAUDE AGUTTES CLAUDE AGUTTES Président – Commissaire-priseur RESPONSABLE DE LA VENTE SOPHIE PERRINE Commissaire-priseur [email protected] Tél. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2014). Book Review: Music in Germany Since 1968 by Alastair Williams. Tempo (London, 1939): a quarterly review of modern music, 68(268), pp. 116-121. doi: 10.1017/S0040298213001940 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4732/ Link to published version: http://dx.doi.org/10.1017/S0040298213001940 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Tempo 68 (268) 1–5 © 2014 Cambridge University Press 1 1 2 3 4 books 5 6 7 Music in Germany Since 1968 by Alastair Williams. Constructing Musicology;1 Williams does not 8 Cambridge: Cambridge University Press, 2013. match the dialectical oppositions within the 9 £60.00. field of enquiry with much of a dialectical sens- 10 ibility of his own. The result is a ‘history’ 11 Musicology has faced many challenges in recent which is in large measure a study of two ‘great 12 decades, including critiques of canons and the men’, Lachenmann and Wolfgang Rihm, with 13 exclusive focus upon ‘great composers’ and other composers and issues viewed relative to 14 autonomous ‘works’, the centrality of Western their work and world-view. -
An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard. Carol Fuqua Lines Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lines, Carol Fuqua, "An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard." (2001). LSU Historical Dissertations and Theses. 418. https://digitalcommons.lsu.edu/gradschool_disstheses/418 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Piano Works Uspud • Le Fils Des Étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works
SATIE Piano Works Uspud • Le Fils des étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works 1 Allegro (1884) 0:21 & Tendrement (version for piano) (1902) 3:59 While the world of music composition has attracted some borrowings and stylistic fusions. Leit-motiv du ‘Panthée’ is 2 Leit-motiv du ‘Panthée’ (1891) 0:45 Le Fils des étoiles: 3 Preludes (1891) 13:34 ‘colourful characters’, from Mozart’s vulgar letters and cat the composer’s only monodic composition, written as a 3 Verset laïque et somptueux (1900) 1:27 * Act I: Prélude, ‘La Vocation’ 4:39 impressions to Peter Warlock’s ultimately fatal interest in contribution to Joséphin Péladan’s novel Panthée (in his ( witchcraft and sadism, surely the greatest eccentric of cycle La Décadence latine: éthopée). With its unpredictable 4 Fugue-valse (1906) 1:59 Act II: Prélude, ‘L’Initiation’ 3:51 ) Act III: Prélude, ‘L’Incantation’ 4:57 them all is the Parisian, Erik Satie (1866–1925). Always harmonic shifts, Verset laïque & somptueux seems to Cinq Grimaces pour Le Songe d’une nuit d’été appearing in one of seven identical suits, Satie would eat inhabit the world of Debussy’s more reflective piano works, (arr. Darius Milhaud for piano) (1915) 3:57 Sonatine bureaucratique (1917) 4:25 ¡ only white food, carried a hammer with him to defend though the same could not be said of the relatively 5 No. 1. Préambule 0:50 I. Allegro 1:08 ™ II. Andante 1:20 himself from any assailants, and even founded his own extensive and bizarre Fugue-Valse (surely the sole attempt 6 No. -
Fonds Charles Koechlin
Fonds Charles KOECHLIN Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Fonds Charles Koechlin Table des matières Documents personnels sur Charles Koechlin .................................................................................. 4 Biographie / Ephémérides ........................................................................................................... 4 Ecrits autobiographiques ............................................................................................................. 4 Ecrits et dossiers de voyages ...................................................................................................... 5 Œuvres de Charles Koechlin ......................................................................................................... 10 Boite 1 : Listes d’œuvres ........................................................................................................... 10 Boite 2 : Ecrits de Ch. Koechlin sur ses œuvres ........................................................................ 10 Ecrits de Charles Koechlin ............................................................................................................ 12 Conférences .............................................................................................................................. 12 Causeries radiophoniques ......................................................................................................... 14 Articles et textes ....................................................................................................................... -
Musique André Jolivet
ALDE Musique André Jolivet jeudi 9 décembre 2010 Experts Thierry Bodin Syndicat français des experts professionnels en œuvres d’art Les Autographes 45, rue de l’Abbé Grégoire 75006 Paris Tél. 01 45 48 25 31 - Facs 01 45 48 92 67 [email protected] & François Roulmann Librairie de Musique Ancienne François Roulmann 10, rue de la Grande Chaumière 75006 Paris Tél. 01 43 54 46 74 - Facs. 01 43 54 46 74 [email protected] pour les imprimés Exposition partielle chez les experts Sur rendez-vous uniquement Exposition publique Salle Rossini le jeudi 9 décembre de 10 heures à midi Musique nos 1 à 107 André Jolivet nos 108 à 337 En première de couverture no 198 En quatrième de couverture n°202 MaisonALDE de ventes spécialisée Livres & Autographes Musique André Jolivet Vente aux enchères publiques Le jeudi 9 décembre 2010 à 14 h 00 Salle Rossini 7, rue Rossini 75009 Paris Tél. : 01 53 34 55 01 Commissaire-priseur Jérôme Delcamp 7, rue Drouot - 75009 Paris Tél. 01 53 34 55 00 - Fax 01 42 47 10 26 [email protected] - www. rossini.fr présentera le n° 11, signalé par un R dans le catalogue EALDE Maison de ventes aux enchères 1, rue de Fleurus 75006 Paris Tél. 01 45 49 09 24 - Facs. 01 45 49 09 30 - www.alde.fr Agrément n°-2006-583 11 33 Abréviations : L.A.S. ou P.A.S. lettre ou pièce autographe signée L.S. ou P.S. lettre ou pièce signée (texte d’une autre main ou dactylographié) L.A. -
The Darius Milhaud Society Newsletter, Vol. 10, Spring/Summer/Fall 1994
Cleveland State University EngagedScholarship@CSU Darius Milhaud Society Newsletters Michael Schwartz Library 1994 The aD rius Milhaud Society Newsletter, Vol. 10, Spring/Summer/Fall 1994 Darius Milhaud Society Follow this and additional works at: https://engagedscholarship.csuohio.edu/milhaud_newsletters Part of the History Commons, and the Music Commons How does access to this work benefit oy u? Let us know! Recommended Citation Darius Milhaud Society, "The aD rius Milhaud Society Newsletter, Vol. 10, Spring/Summer/Fall 1994" (1994). Darius Milhaud Society Newsletters. 18. https://engagedscholarship.csuohio.edu/milhaud_newsletters/18 This Book is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Darius Milhaud Society Newsletters by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. This digital edition was prepared by MSL Academic Endeavors, the imprint of the Michael Schwartz Library at Cleveland State University. THE DARIUS M ILHAUD S 0 C IETY NEWSLETTER Cleveland, Ohio Spring/Summer/Fall 1994 Vol. 10, Nos. 1, 2 and 3 Wlte11 I began to be interested in polytonal certainly favored. In searching at tf1e piano, 1 had lwrmo11y, it was a long time after I had left t 17 e always been struck by the fact that a polytonnl 1Iarmo11y class upon the advice of my teacher Xavier harmony is much more subtle i11 sweetness and a great Leroux . ... I was finishing my studies of counterpoint, den/ more powerful in pungency than a tonal and in 1915, I was in the composition class of Widor combination .