Franck: Piano Quintet; Debussy: String Quartet - CDA6. Hyperion Records. After the Franco- Prussian War and the horrors of the Commune, there was a determination to show that France was not only free of the invader, but also once again a functioning entity. The foundation of the Soci. And not only the younger ones: it was in all probability the promise of performance in a respectable milieu that, among other things, encouraged C. From his three piano trios of 1. Piano Quintet in F minor, first performed at the Soci. Piano quintets were certainly not unknown in this venue: Saint- Sa. But it’s fair to say that these works gave little idea of what that January audience was in for. Some idea of its unique qualities may be gleaned from two incidents. First, Franck’s wife took against the piece. But the discords did not end there. Anyway, immediately after that first performance he stalked off the platform leaving the manuscript, dedication and all, on the piano. All of this seems less bizarre once you have actually heard the Quintet. List of religious populations - Wikipedia, the free encyclopedia; gottesbeweis. Existence of God - Wikipedia, the free encyclopedia. Hello and welcome to HPGS. This is just a little tiny part of HPGS 's big archive. We haven't indexed the whole archive and it takes time, We need to upload our. Lundi 9 mai, Le Chevalier The Silver Swan, My Heart to Thee Now Makes its Plea, and Now is the Month of Maying make up this set of famous madrigals. There are two slower melodies and one fast. Even Liszt, himself no shrinking violet, was shocked by its passionate intensity, erotic or otherwise. It is notable that, even so, Franck was careful to build such a wild composition on classical lines, the outer movements observing sonata form and enclosing a slower movement in traditional ABA or lied structure. The opening of the first movement sets the tone, in the extreme contrast between the . From here on, contrast continues to be the order of the day, not least in the continual modulations, so that the ground seems always to be shifting under your feet—one thinks of the response attributed to the young Debussy, who attended Franck’s organ class briefly around this time and who, urged by the ma? I’m perfectly happy where I am.’Franck observed that the key of the central movement, A minor, could be justified as the relative minor of the dominant of F minor and that he intended the key as a link between the outer movements. True as this is, it hardly explains the sense of total disorientation we feel—almost Sch. Here, as in the finale, Franck repeats a suave theme from the first movement, one that typically hovers round a single note, a kind of . Rhythmically, too, it conforms to a habitual Franckian pattern with a long note at the centre of each bar, while on the harmonic front we find modulations aplenty, but also chords that shift between major and minor in the manner of Schubert. The finale begins with the shock of tremolo violins, but as yet no tune. This lack is soon supplied, and generously, and in due course the suave theme once again brings respite from the more tortuous music around it, but the whole movement has an unstable feel, including some strange subterranean grumbles from piano and cello. Although the listener cannot be expected to realize the fact, some of the instability derives from the distant keys through which the music passes. Franck’s pupil and biographer, Vincent d’Indy, found this feature hard to stomach, marking as it did . Amen to that. For whatever reason, amid the welter of French violin sonatas, piano trios and piano quartets written in the 1. Whether or not intimidated by the ghost of Beethoven, Franck and Faur. For Debussy, and later Ravel, to enter this domain around the age of thirty was to court charges of presumption. Before the first performance of the String Quartet by the Ysa. The Quartet too was to have a decisive influence, notably on Ravel. Franck’s Piano Quintet and Debussy’s String Quartet make an apt and unusual coupling, each work its composer’s only, unsurpassable, contribution to the genre. Presented by the Center for Jewish History and the Archivists Round Table of Metropolitan New York. Speaker: Michelle Caswell In the 1970s, feminist communication. Gregorian chant books for the liturgy of The Roman Catholic Church. A music school is an educational institution specialized in the study, training and research of music. Such an institution can also be known as a school of music. Some of the immediate responses from the critics were enthusiastic, but not those of Chausson, with whom Debussy was very friendly at the time. It’s clear from a letter Debussy wrote to him on 5 February 1. Chausson liked things in the work which Debussy would rather had remained undetected, and that he found Debussy’s forms lacking in decorum: . Chausson’s view was that Debussy did not roll up his sleeves and really get to work on his material—a similar response to that from Vincent d’Indy, who later told Georges Auric that both the Debussy and Ravel quartets were no more than . To label these transformations . The theme does not, for example, culminate in any grand peroration like the one in Franck’s Symphonic Variations, unkindly dubbed by Alfred Cortot . Debussy’s approach is nearer to Monet’s in recording the variations of light on the fa. Contemporary critics noted that in the slow movement the Russian influence was alive and well, and it could be that this whiff of exoticism struck Chausson as unpatriotic.
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