paul dukas musical style

Paul Dukas. Later in his life he was appointed professor of composition at the Conservatoire de Paris and the École Normale de Musique; his pupils included Maurice Duruflé, Olivier Messiaen, Manuel Ponce, and Joaquín Rodrigo. The second movement, Andante, in sharp contrast to the first, reveals the perfect finish of the composer's style and the ineffable charm of his melody. He studied music at the Paris Conservatoire, where his teachers were Theodore Dubois, César Franck, and 'Ernest Guiraud'. "[2], In the decade after L'apprenti sorcier, Dukas completed two complex and technically demanding large-scale works for solo piano: the Piano Sonata (1901), dedicated to Saint-Saëns, and Variations, Interlude and Finale on a Theme by Rameau (1902). Music-Scores selection of Paul Dukas sheet music. "[4] Paul Dukas, (born Oct. 1, 1865, Paris, Fr.—died May 17, 1935, Paris), French composer whose fame rests on a single orchestral work, the dazzling, ingenious L’Apprenti sorcier (1897; The Sorcerer’s Apprentice). [4] His Parisian debut as composer was a performance of his overture Polyeucte, written in 1891 and premiered by Charles Lamoureux and his Orchestre Lamoureux in January 1892. They had one child, a daughter Adrienne-Thérèse, born in December 1919. Reviewed in the United States on September 3, 2003. Plot: Division 87 (columbarium), urn 4938, Variations, Interlude and Finale on a Theme by Rameau, Royal Academy of Science, Letters and Fine Arts of Belgium, International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=Paul_Dukas&oldid=998045378, Academics of the École Normale de Musique de Paris, Pages containing links to subscription-only content, Short description is different from Wikidata, Articles with Encyclopædia Britannica links, Articles with International Music Score Library Project links, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with Léonore identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Wikipedia articles with multiple identifiers, Creative Commons Attribution-ShareAlike License, An untitled orchestral work for Boston Symphonic Orchestra (1932), This page was last edited on 3 January 2021, at 15:03. [2] In Dukas's piano works critics have discerned the influence of Beethoven, or, "Beethoven as he was interpreted to the French mind by César Franck". A studious man of retiring personality, he was intensely self-critical, having abandoned and destroyed many of his compositions. [4] Disappointed at his failure to win the top prize, he left the Conservatoire in 1889. [4] Among his fellow students was Claude Debussy, with whom Dukas formed a close friendship. [ PDF] - Paul Dukas (October 1, 1865-May 17, 1935) was a Parisian-born French composer and teacher of classical music. Never miss out on gossip, celebrity photos, videos, divorces, scandals and more. An ideal resource for individuals, tutors and music school teachers. [2], After La Péri, Dukas completed no new large-scale compositions, although, as with his contemporary Jean Sibelius, there were frequent reports of major work in hand. Paul Dukas was a French composer, critic, scholar and teacher. [7], The symphony was followed by another orchestral work, by far the best known of Dukas's compositions, his scherzo for orchestra, L'apprenti sorcier (The Sorcerer's Apprentice) (1897), a short piece (lasting for between 10 and 12 minutes in performance)[8] based on Goethe's poem "Der Zauberlehrling". Dukas was born into a musical family, studying, and eventually teaching, at the Paris Conservatoire. [14] Though adhering to neither the progressive nor conservative factions among French musicians of the era, Dukas had the friendship and respect of both. [3] Shortly before his death he had been working on a symphonic poem inspired by Shakespeare's The Tempest,[3] a play of which he had made a French translation in 1918 with an operatic version in mind. [23], Langham Smith, Richard (1994). He studied under Théodore Dubois and Ernest Guiraud at the Conservatoire de Paris, where he became friends with the composer Claude Debussy. See Paul Dukas to Adrien Dukas, 8 July 1892, Correspondance de Paul Dukas, Georges Favre (ed.) [4] He also taught at the École Normale de Musique in Paris. When Dukas was five years old, his mother died giving birth to her third child, Marguerite-Lucie. His many students included Jehan Alain, Elsa Barraine, Yvonne Desportes, Francis Chagrin, Carlos Chávez, Maurice Duruflé, Georges Hugon, Jean Langlais, Olivier Messiaen, Manuel Ponce, Joaquín Rodrigo, David Van Vactor and Xian Xinghai. [19] Because of the very quiet opening pages of the ballet score, the composer added a brief "Fanfare pour précéder La Peri" which gave the typically noisy audiences of the day time to settle in their seats before the work proper began. Dukas was born in Paris to a Jewish father and French mother who played the piano and was an important early influence. [2] The opera has often been compared to Debussy's Pelléas et Mélisande which was first performed while Dukas was writing Ariane et Barbe-bleue. Dukas, a master of orchestration, was from 1910 to 1912 professor of the orchestral class at the Paris Conservatory, and from 1927 until his death he was professor of composition there. This book appraises the contribution of Paul Dukas (1865–1935) to a wide variety of French musical practices. At a time when French musicians were divided into conservative and progressive factions, Dukas adhered to neither but retained the admiration of both. [17] Interest in it revived in the 1990s, with productions in Paris (Théâtre du Châtelet, 1990) and Hamburg (Staatsoper, 1997),[2] and at the Opéra Bastille in Paris in 2007. [1] Two early overtures survive from this period, Goetz de Berlichingen (1883) and Le Roi Lear (1883). von Goethe’s “Zauberlehrling”) was a piece of descriptive music written at the same time and in much the same style as Richard Strauss’s Till Eulenspiegel. When Charles-Marie Widor retired as professor of composition at the Paris Conservatoire in 1927, Dukas was appointed in his place. Stream songs including "Nocturno", "Mazurka" and more. [1] During Dukas's lifetime The Musical Quarterly commented that the world fame of the work not only overshadowed all other compositions by Dukas, but also eclipsed Goethe's original poem. The Symphony in C major was composed in 1895–96, when Dukas was in his early 30s. Like Ponchielli, we may not know the name Paul Dukas were it not for the starring role of Mickey Mouse as the Sorcerer’s Apprentice in Fantasia (1940). Paul Dukas - Composer style: Modern (Early) - Born: October 1, 1865 in Paris, France - Followed by 98 users - Top Work: The Sorcerer's Apprentice (L'apprenti sorcier) [2], In 1916, Dukas married Suzanne Pereyra (1883-1947), who was of Portuguese descent. Listen to Falla: The Complete Piano Works by Azumi Nishizawa on Apple Music. "[9], In 1899 Dukas turned once again to operatic composition. Adrien also offered Paul advice on the art of music criticism. The ballet La Péri (1912), on the other hand, displays mastery of Impressionist scoring; and, in his opera Ariane et Barbe-Bleue (1907), on the play of Maurice Maeterlinck, the atmosphere and musical texture make up for the lack of dramatic impact. [22], Dukas died in Paris in 1935, aged 69. His second attempt, L'arbre de science, was abandoned, incomplete, but in the same year he began work on his one completed opera, Ariane et Barbe-bleue (Ariadne and Bluebeard). [13] The author had intended the libretto to be set by Grieg but in 1899 he offered it to Dukas. [5] In 1920, Vincent d'Indy published a study of Dukas's music;[2] Debussy remained a lifelong friend, though feeling that Dukas's music was not French enough;[14] Saint-Saëns worked with Dukas to complete an unfinished opera by Guiraud, and they were both engaged in the rediscovery and editing of the works of Jean-Philippe Rameau;[4] Fauré dedicated his Second Piano Quintet to Dukas in 1921. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. [4], Dukas's career as a critic began in 1892 with a review of Wagner's Der Ring des Nibelungen conducted by Gustav Mahler at Covent Garden in London. Updates? '. As a composer, critic, artistic collaborator and teacher, Dukas was central to the fin de siècle and early twentieth-century Paris musical scene (and more broadly to the French scene). Paul Dukas ' music, like his life, straddled the Romantic and modern periods (and encompassed a still wider range of influences), and he remained true to classical structures well into the twentieth century. Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Get a Britannica Premium subscription and gain access to exclusive content. In tandem with his composing career, Dukas worked as a music critic, contributing regular reviews to at least five French … Discover UK showbiz and celebrity breaking news from the MailOnline. Under the Fifth Republic, France’s current system, the head of state is the president, who is elected by direct universal suffrage. Paul Dukas: Fanfare from La Péri Context. "[7] The symphony was better received when the Lamoureux Orchestra revived it in 1902. [2] His review was published in La Revue Hebdomadaire; he later wrote also for Minerva, La Chronique des Arts, Gazette des Beaux-Arts and Le Courrier Musical. [2], In the last year of his life Dukas was elected to membership of the Académie des Beaux-Arts. By far the best known composition by Dukas is the symphonic scherzo L’Apprenti Sorcier. [10] There are also two smaller works for piano solo. Building on the experience of his Beethovenian symphony, Dukas experimented with a variety of orchestral instruments in order to achieve his own distinctive orchestration. Dukas studied at the Paris Conservatory and, after winning a second Grand Prix de Rome with his cantata Velléda (1888), established his position among the younger French composers with the overture, first … Paris, city and capital of France, situated in the north-central part of the country. Diaghilev planned a production with his Ballets Russes but the production did not take place; the company's choreographer Fokine staged L'apprenti sorcier as a ballet in 1916. [18], Dukas's last major work was the sumptuous oriental ballet La Péri (1912). He also contributed musical criticism to several Paris papers, and his collected writings, Les Écrits de Paul Dukas sur la musique (1948), include some of the best essays ever published on Jean-Philippe Rameau, Christoph Gluck, and Hector Berlioz. Paul Abraham Dukas was from a French-Jewish family. The Sonata has not been performed very often, but lately pianists, such as Marc-André Hamelin, have started to add it to their concerts. [1][2][20] As a teacher he was conservative but always encouraging of talent, telling one student, "It's obvious that you really love music. He was also a music critic and an editor of early French music. Dukas’s L’Apprenti sorcier (based on J.W. Its ideational luxuriance, nobility of utterance and architectural solidity mark it as one of the most conspicuous achievements of contemporaneous writing, and magnificently refute the generally prevalent notion that no French composer has ever produced a great symphony. On a musical level, Watson interprets Ariane et Barbe-Bleue as a post-Wagnerian symphonic opera that is influenced by Debussy’s Pelléas et Mélisande. [14] Dukas worked on it for seven years and it was produced at the Opéra-Comique in 1907. His father, Jules Dukas, was a banker, and his mother, Eugénie, was a capable pianist. Omissions? (Paris: Durand, 1971), 14. [5] In 2011, the Grove Dictionary of Music and Musicians observed, "The popularity of L'apprenti sorcier and the exhilarating film version of it in Disney's Fantasia possibly hindered a fuller understanding of Dukas, as that single work is far better known than its composer. Dukas’s writing acts as a bridge between the French romantic composers and the new style of the Impressionists. A few weeks before his death, he destroyed several of his musical manuscripts. The rest of his output (never large, owing to his own strict censorship of his works) was mainly dramatic and program music and compositions for piano. Dukas studied at the Paris Conservatory and, after winning a second Grand Prix de Rome with his cantata Velléda (1888), established his position among the younger French composers with the overture, first performed in 1892, to Pierre Corneille’s Polyeucte and with the Symphony in C Major (1896). Paul Dukas Sheet Music . [2] It did not maintain a regular place in the repertory, despite the advocacy of Arturo Toscanini, who conducted it in New York three years in succession,[15] and Sir Thomas Beecham, who pronounced it "one of the finest lyrical dramas of our time,"[16] and staged it at Covent Garden in 1937. Articles from Britannica Encyclopedias for elementary and high school students. The work is a setting of a libretto by Maurice Maeterlinck. Not only are both works settings of Maeterlinck, but there are musical similarities; Dukas even quotes from the Debussy work in his score. Truly a masterpiece, this symphonic work evolved with a … Like Franck's only symphony, Dukas's is in three movements rather than the conventional four. 3 Jules Dukas. Inspired by his readings of "Der Zauberlehrling", a poem by Johann Wolfgang von Goethe, Dukas took on composing "L'apprenti sorcerer" (The Sorcerer's Apprentice) (1897). [3] Only a few of his compositions remain. Composer: Paul Dukas. Paul Abraham Dukas (October 1, 1865 – May 17, 1935) was a French composer and teacher of classical music. [2], In the last years of his life, Dukas became well known as a teacher of composition. Yet Dukas’s musicianship was of a considerably wider range than this brilliant period piece suggests. Dukas took piano lessons but showed no unusual musical talent until he was 14 when he began to compose while recovering from an illness. He met Claude Debussy while both were students at the Paris Conservatoire and they remained life-long friends. He was cremated and his ashes were placed in the columbarium at Père Lachaise Cemetery in Paris. Made famous by Mickey Mouse and Disney's Fantasia, The Sorcerer's Apprentice was composed in 1897. After 1912 Dukas ceased publishing his compositions—except for a piano piece written in memory of his admirer Claude Debussy, the evocative La Plainte au loin du faune (1920), and a song setting, the charming “Sonnet de Ronsard” (1924). The Sonata, described by the critic Edward Lockspeiser as "huge and somewhat recondite",[9] did not enter the mainstream repertoire, but it has been more recently championed by such pianists as Marc-André Hamelin and Margaret Fingerhut. "[4] Grove observes that his wide knowledge of the history of European music, and his editorial work on Rameau, Scarlatti and Beethoven, gave him "particular authority in teaching historical styles". Paul Abraham Dukas (French: [dykas]; 1 October 1865 – 17 May 1935) was a French composer, critic, scholar and teacher. This CD contains, as far as I know, the complete piano music of Paul Dukas (1865-1936), who is of course best-known for his scintillating tone poem 'The Sorceror's Apprentice. Schwerké wrote of it: Expressed in an individual and spontaneous idiom, the Symphony in C gives free play to the author's creative spirit and to his fund of exalted emotion. After Polyeucte, he began writing an opera in 1892. Described by the composer as a "poème dansé" it depicts a young Persian prince who travels to the ends of the Earth in a quest to find the lotus flower of immortality, coming across its guardian, the Péri (fairy). Music necessarily has to express something; it is also obliged to express somebody, namely, its composer. [4] In a study of Dukas published towards the end of the composer's life, Irving Schwerké wrote, "The work … is an opulent expression of modernism in classical form. You can listen to each piece to help guide you on tempo and style. His best-known work is the orchestral piece The Sorcerer's Apprentice (L'apprenti sorcier), the fame of which has eclipsed that of his other surviving works. [2], Dukas won several prizes, including the second place in the Conservatoire's most prestigious award, the Prix de Rome, for his cantata Velléda in 1888. He entered the Conservatoire de Paris at the end of 1881, aged 16, and studied piano with Georges Mathias, harmony wi… The table provides a list of the major rulers of…. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. p 104, Cimetière du Père Lachaise. [1][2] His father, Jules Dukas, was a banker, and his mother, Eugénie, was a capable pianist. [13] Although it won considerable praise, its success was overshadowed by the Paris premiere of Richard Strauss's sensational opera Salome at much the same time. The Sorcerer’s Apprentice teaches us about Paul Dukas, a musician that is very relate-able to the student, being as he didn’t show any particular talent at a young age like many of the other famous composers of our time do.

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