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Best known for his piano music, Déodat de Séverac (1872-1921) also composed orchestral and vocal works, including opera, cantata and incidental music. His early works were influenced by Impressionist harmonies, church modes, cyclic techniques, folk-like melodies and Andalusian motives, though his style changed dramatically in 1907 when he began to include Catalan elements in his compositions. In this book, Robert Waters provides a much-needed study of the life and works of Séverac, focusing on the composer's regionalist philosophy. Séverac's engagement with folk music was not a patriotic gesture in the vein of nationalistic composers, but a way of expressing regional identity within France to counter the restrictive styles sanctioned by the Paris Conservatory. The book will appeal to those specializing in French music, European ethnic musics, piano music and French music history.
Dat de Srac (1872-1921) is best known for his piano music but his compositions included orchestral and vocal works, including opera, cantata and incidental music. Claude Debussy described Srac's music as "exquisite and rich with ideas." The early works were influenced by Impressionist harmonies, church modes, cyclic techniques, folk-like melodies and Andalusian motives. Srac's style changed dramatically in 1907 when he left Paris and began to include Catalan elements in his compositions - a transition that has hitherto gone unrecognized. Robert Waters provides a much-needed study of the life and works of Srac, focusing on the composer's regionalist philosophy. Srac's engagement with folk music was not a patriotic gesture in the vein of nationalistic composers, but a way of expressing regional identity within France to counter the restrictive styles sanctioned by the Paris Conservatory. His musical philosophy mirrored larger social and political debates regarding anti-centralist positions on education, politics, art and culture in fin de sie France. Such debates involved political and social leaders whom Srac knew and personally admired, including the writer Maurice Barrand the poet Frric Mistral. The book will appeal to those specializing in French music, European ethnic musics, piano music and French music history.
"Déodat de Séverac (1872-1921) is best known for his piano music but his compositions included orchestral and vocal works, including opera, cantata and incidental music. Claude Debussy described Séverac's music as "exquisite and rich with ideas." The early works were influenced by Impressionist harmonies, church modes, cyclic techniques, folk-like melodies and Andalusian motives. Séverac's style changed dramatically in 1907 when he left Paris and began to include Catalan elements in his compositions - a transition that has hitherto gone unrecognized. Robert Waters provides a much-needed study of the life and works of Séverac, focusing on the composer's regionalist philosophy. Séverac's engagement with folk music was not a patriotic gesture in the vein of nationalistic composers, but a way of expressing regional identity within France to counter the restrictive styles sanctioned by the Paris Conservatory. His musical philosophy mirrored larger social and political debates regarding anti-centralist positions on education, politics, art and culture in fin de siècle France. Such debates involved political and social leaders whom Séverac knew and personally admired, including the writer Maurice Barré and the poet Frédric Mistral. The book will appeal to those specializing in French music, European ethnic musics, piano music and French music history."--Provided by publisher.
D?at de S?rac (1872-1921) is best known for his piano music but his compositions included orchestral and vocal works, including opera, cantata and incidental music. Claude Debussy described S?rac's music as "exquisite and rich with ideas." The early works were influenced by Impressionist harmonies, church modes, cyclic techniques, folk-like melodies and Andalusian motives. S?rac's style changed dramatically in 1907 when he left Paris and began to include Catalan elements in his compositions - a transition that has hitherto gone unrecognized. Robert Waters provides a much-needed study of the life and works of S?rac, focusing on the composer's regionalist philosophy. S?rac's engagement with folk music was not a patriotic gesture in the vein of nationalistic composers, but a way of expressing regional identity within France to counter the restrictive styles sanctioned by the Paris Conservatory. His musical philosophy mirrored larger social and political debates regarding anti-centralist positions on education, politics, art and culture in fin de si?e France. Such debates involved political and social leaders whom S?rac knew and personally admired, including the writer Maurice Barr?and the poet Fr?ric Mistral. The book will appeal to those specializing in French music, European ethnic musics, piano music and French music history.
"Cecilia Dunoyer has written a thoughtful and carefully researched work. Not only is her book crammed with information on French music, performers, and composers, it also is highly readable." --Piano & Keyboard "Cecilia Dunoyer's new book presents an engaging portrait of the woman once esteemed as the grande dame of French music." --Notes "It is a fascinating story from beginning to end... " --American Music Teacher "Dunoyer's thorough, accurate, well-written biography is the first of this important artist and, as such, worthy of many a music library's attention." --Booklist Marguerite Long, the most important French woman pianist of our century, left her stamp on a whole epoch of musical life in Paris. Long was a virtuoso performer--working closely with Debussy, Faur , and Ravel--and a tireless and demanding pedagogue. With violinist Jacques Thibaud, she founded a prestigious international competition that continues to launch the careers of young musicians. Illustrated.
Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.
Historical Interplay in French Music and Culture, 1860–1960 by Deborah Mawer Pdf
This edited volume of case studies presents a selective history of French music and culture, but one with a dynamic difference. Eschewing a traditional chronological account, the book explores the nature of relationships between one main period, broadly the 'long' modernist era between 1860–1960, and its own historical ‘others’, referencing topics from the Romantic, classical, baroque, renaissance and medieval periods. It probes the emergent interplay, intertextualities and scope for reinterpretation across time and place. Notions of cultural meaning are paramount, especially those pertaining to French identity, national and individual. While founded on historical musicology, the approach benefits from interdisciplinary association with philosophy, political history, literature, fine art, film studies and criticism. Attention is paid to French composers’ celebrations and remakings of their predecessors. Editions of and writings about earlier music are examined, together with the cultural reception of performances of past repertoire. Organized into two parts, each of the eleven chapters characterizes a specific cultural network or temporal interplay, which may result in synthesis, disjunction, or historical misreading. The interwar years and those surrounding the Second World War prove particularly rich sources of enquiry. This volume aims to attract a wide readership of musicologists and musicians, as well as cultural historians, other humanities scholars and concert-goers.
Le Chant Intime by François Le Roux,Romain Raynaldy Pdf
There have been very few books written directly by prominent recitalists that provide audiences with an authoritative, inspired guide to the interpretation and appreciation of French melodie. In this translation of the groundbreaking Le Chant Intime, internationally renowned baritone FrancoisLe Roux, in conversation with journalist Romain Reynaldy, presents a master class on French art song, with a thorough analysis of 60 selected songs that deviate from the traditionally narrow repertoire of the melodie genre.Taking an approach that goes far beyond the typical limiting conventions, Le Roux and Raynaldy adhere to composer Francis Poulenc's principle that a song should always be "a love affair, not an arranged marriage." Neither theoretical nor purely academic, this guide instills in its readers a deepappreciation for the historical and artistic context of each piece by enriching each analysis with the full text of the lyrical poem and several musical examples, as well as fascinating details of historic premieres, concert halls, singers and poets. Paired with intensive and practical notes relatedto the nuances of melody and vocal delivery, each analysis provides an essential reference for performers and listeners alike.
Author : New York Public Library. Reference Department Publisher : Unknown Page : 784 pages File Size : 47,5 Mb Release : 1964 Category : Music ISBN : UOM:39015024176474
A Life of Picasso Volume II by John Richardson Pdf
John Richardson draws on the same combination of lively writing, critical astuteness, exhaustive research, and personal experience which made a bestseller out of the first volume and vividly recreates the artist's life and work during the crucial decade of 1907-17 - a period during which Pablo Picasso and Georges Braque invented Cubism and to that extent engendered modernism. Richardson has had unique access to untapped sources and unpublished material. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing a fresh light to bear on the artist's often too sensationalised private life, he has succeeded in coming up with a totally new view of this paradoxical man of his paradoxical work. Never before has Picasso's prodigious technique, his incisive vision and not least his sardonic humour been analysed with such clarity.
A Life of Picasso II: The Cubist Rebel by John Richardson Pdf
In the second volume of his Life of Picasso, Richardson reveals the young Picasso in the Baudelairean role of “the painter of modern life.” Never before have Picasso’s revolutionary vision, technical versatility, prodigious achievements, and, not least, his sardonic humor been analyzed with such clarity. Hence his great breakthrough painting, Les Demoiselles d’Avignon, with which this book opens. As well as portraying Picasso as a revolutionary, Richardson analyzes the more compassionate side of his genius. The misogynist of posthumous legend turns out to have been surprisingly vulnerable—more often sinned against than sinning. Heartbroken at the death of his mistress Eva, Picasso tried desperately to find a wife. Richardson recounts the untold story of how his two great loves of 1915–17 successively turned him down. These disappointments, as well as his horror at the outbreak of World War I and the wounds it inflicted on his closest friends, Braque and Apollinaire, shadowed his painting and drove him off to work for the Ballets Russes in Rome and Naples—back to the ancient world. In this volume we see the artist’s life and work during the crucial decade of 1907–17, a period during which Picasso and Georges Braque devised what has come to be known as cubism and in doing so engendered modernism. Thanks to the author’s friendship with Picasso and some of the women in his life, as well as Braque and their dealer, D. H. Kahnweiler, and other associates, he has had access to untapped sources and unpublished material. In The Cubist Rebel, Richardson also introduces us to key figures in Picasso’s life who have been totally overlooked by previous biographers. Among these are the artist’s Chilean patron, collector, and mother figure, Eugenia Errázuriz, as well as two fiancées: the loveable Geneviève Laporte and the promiscuous bisexual painter Irène Lagut. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing fresh light to bear on the artist’s private life, he has succeeded in coming up with a new view of this paradoxical man and of his paradoxical work. Never before have Picasso’s revolutionary vision, technical versatility, prodigious achievements, and, not least, his sardonic humor been analyzed with such clarity.
Together with Picasso and Matisse, Georges Braque is unquestionably one of the three great pillars of twentieth-century art. Here is the first full-length biography of this remarkable figure. A pioneer of modern art and founder of Cubism, Georges Braque was a creative genius and tireless innovator, constantly pushing back the boundaries of the possible. In this magisterial work, Alex Danchev taps a wide range of new sources to reveal the heart and mind of one who helped usher in the greatest revolution in the ways of seeing since the Renaissance and changed the face of modern art.
