Debussy: Valse romantique (1890)

DesAbends

Uploaded on May 2, 2009

Claude Debussy
(1862 – 1918)

Complete music for piano solo (in chronological order)

Valse romantique (1890)

• Music

  • “Valse romantique” by Thiollier, Francois-Joel

Historic Musical Bits: Michelangeli Debussy Preludes Book 1

Michelangeli Debussy Preludes
Book 1

mightysmeagol

Published on Jun 9, 2012

As a tribute to greatest among artists to be dedicated towards Yuu aka 225cess
– Hommage à Rameau; Images set 1 Paris 05/01/1965
– Preludes: book 1 Paris 22/10/1978
***********************************************************************

Préludes (Debussy)

From Wikipedia, the free encyclopedia

 

Claude Debussy‘s Préludes are 24 pieces for solo piano, divided into two books of 12 preludes each. Unlike previous collections of preludes, such as those of J.S. Bach and Chopin’s Op. 28, Debussy’s does not follow a strict pattern of key signatures.

Each book was written in a matter of months, at an unusually fast pace for Debussy. Book I was written between December 1909 and February 1910, and Book II between the last months of 1912 and early April 1913.
Movements:

1. Danseuses de Delphes: Lent et grave
   (Dancers of Delphi)
2. Voiles: Modéré
   (Veils / sails)
3. Le vent dans la plaine: Animé
   (The Wind in the Plain)
4. «Les sons et les parfums tournent dans l’air du soir»: Modéré
   (“The sounds and fragrances swirl through the evening air”)
5. Les collines d’Anacapri: Très modéré
   (The Hills of Anacapri)
6. Des pas sur la neige: Triste et lent
   (Footsteps in the Snow)
7. Ce qu’a vu le vent d’ouest: Animé et tumultueux
   (What the West Wind has seen)
8. La fille aux cheveux de lin: Très calme et doucement expressif
   (The Girl with the Flaxen Hair)
9. La sérénade interrompue: Modérément animé
   (Interrupted Serenade)
10. La cathédrale engloutie: Profondément calme
    (The Submerged Cathedral)
11. La danse de Puck: Capricieux et léger
    (Puck‘s Dance)
12. Minstrels: Modéré

Two of the titles were set in quotation marks by Debussy because they are, in fact, quotations: «Les sons et les parfums tournent dans l’air du soir» is from Charles Baudelaire‘s poem Harmonie du soir (“Evening Harmony”). «Les fées sont d’exquises danseuses» is from J. M. Barrie‘s book Peter Pan in Kensington Gardens, which Debussy’s daughter had received as a gift.

 

 

historic musical bits: Claude Debussy: La Mer; Philharmonia Orchestra, Herbert von Karajan (1953)

Claude Debussy: La Mer; Philharmonia Orchestra, Herbert von Karajan (1953)

dvorakslavenskiples

Published on Aug 23, 2012

Claude Debussy (1862-1918)
La Mer, trois esquisses symphoniques pour orchestre (1903-1905)
Das Meer, drei symphonische Skizzen für Orchester

00:10 – 08:57   I. De l’aube à midi sur la mer — très lent (Morgengrauen bis Mittag auf dem Meer — sehr langsam, h-Moll)
08:59 – 15:43   II. Jeux de vagues — allegro (Spiel der Wellen — Allegro, cis-Moll)
15:45 – 24:07    III. Dialogue du vent et de la mer — animé et tumultueux (Dialog zwischen Wind und Meer, lebhaft und stürmisch, cis-Moll)

Philharmonia Orchestra
Dirigent: Herbert von Karajan
Aufnahme: 1953

historic musical bits: David Oistrakh plays Variations on a theme of Corelli

David Oistrakh plays Variations on a theme of Corelli

soichi1228

Uploaded on Sep 30, 2007

Vn:David Oistrakh
Pf:Frida Bauer

best classical music bits , Manuel Barrueco – Variations on a Theme of Mozart

Manuel Barrueco-Variations on a Theme of Mozart

hckaraman

Manuel Barrueco-Variations on a Theme of Mozart

Claude Debussy : Children’s Corner orch. André Caplet 1911

JeroSJu

Orchestre National de l’O.R.T.F., Jean Martinon, 1974
oboe: Jules Goetgheluk

1. Doctor Gradus ad Parnassum
2. Jimbo’s Lullaby
3. Serenade for the Doll
4. The Snow is Dancing
5. The Little Shepherd
6. Golliwogg’s Cakewalk

Achille-Claude Debussy (aʃil klod dəbysi) (22 August 1862- 25 March 1918)

Children’s Corner (L.113) is a six-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was given its world première in Paris by Harold Bauer on December 18 of that year. In 1911, an orchestration of the work by Debussy’s friend André Caplet received its première and was subsequently published.

Historic Musical Bits: Mischa Maisky & Martha Argerich – Debussy: Cello Sonata , great compositions/performances

Mischa Maisky & Martha Argerich – Debussy: Cello Sonata

From Wikipedia, the free encyclopedia

The Cello Sonata is a late work by the French composer Claude Debussy. It was the first of a planned series of ‘Six sonates pour divers instruments’, however Debussy only completed two others, the sonata for violin and the sonata for flute, viola and harp. The sonata for cello and piano was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.^[1]

It is divided into three short movements:

• I. Prologue: Lent, sostenuto e molto risoluto
• II. Sérénade: Modérément animé
• III. Finale: Animé, léger et nerveux

The two final movements are joined by an attacca. Instead of sonata form, Debussy structures the piece in the style of the eighteenth-century monothematic sonata, and was particularly influenced by the music of François Couperin.

The piece makes use of modes and whole-tone and pentatonic scales, as is typical of Debussy’s style. It also utilises many types of extended cello technique, including left-hand pizzicato, spiccato and flautando bowing, false harmonics and portamenti. Not surprisingly, the piece is considered technically demanding.

Whether descriptive comments related to characters of the Commedia dell’arte were actually given by Debussy to cellist Louis Rosoor remains unclear

 

Claude Debussy – Suite Bergamasque – Clair de Lune , Pianist: François-Joël Thiollier

Claude Debussy – Suite Bergamasque – Clair de Lune

Fledermaus1990

Published on Aug 22, 2012

Pianist: François-Joël Thiollier
Painting: “Starry Night Over the Rhone”, Vincent van Gogh.

Claude Debussy – Images pour orchestre

TedBarchetta

Published on Jan 24, 2014

Images pour orchestre by Claude Debussy. Performed by The Cleveland Orchestra conducted by Pierre Boulez. Paintings by Carlos de Haes and Claude Lorraine
Sections:
1. Gigues (0:00)
2. Iberia:
I. Par les rues et par les chemins (7:30)
II. Les parfums de la nuit (14:30)
III. Le matin d’un jour de fête (22:00)
3. Rondes de printemps (26:20)

*********************************************************

From Wikipedia, the free encyclopedia

Images pour orchestre is an orchestral composition in three sections by Claude Debussy, written between 1905 and 1912. Debussy had originally intended this set of Images as a two-piano sequel to the first set of Images for solo piano, as described in a letter to his publisher Durand as of September 1905. However, by March 1906, in another letter to Durand, he had begun to think of arranging the work for orchestra rather than two pianos.^[1]

Sections

I. Gigues (1909–1912)

The original title of Gigues was Gigues tristes. Debussy used his memories of England as inspiration for the music, in addition to the song “Dansons la gigue” by Charles Bordes^[2] the Tyneside folk tune “The Keel Row“.^[3]

Controversy exists over the role of André Caplet in the orchestration of Gigues. Robert Orledge and Williametta Spencer are two writers, for example, who have accepted Caplet as assisting with the orchestration.^[2][4] In contrast, François Lesure has stated, based on manuscript examination in the Bibliothèque National (MS 1010), that Caplet did not assist with the orchestration.^[5]

II. Ibéria (1905–1908)

Ibéria is the most popular of the three orchestral Images and itself forms a triptych within a triptych. The three sections of Ibéria are:

1. Par les rues et par les chemins (“In the streets and by-ways”)
2. Les parfums de la nuit (“The fragrance of the night”)
3. Le matin d’un jour de fête (“The morning of the festival day”)

The music is inspired by impressions of Spain. Richard Langham Smith has commented on Debussy’s own wish to incorporate ideas of juxtaposing elements of the visual arts in musical terms,^[6] including a quote from Debussy to Caplet from a letter of 26 February 1910:

You can’t imagine how naturally the transition works between ‘Parfums de la nuit’ and ‘Le Matin d’un jour de fête. Ça n’a pas l’air d’être écrit.^[7]

Matthew Brown has briefly commented on Debussy’s use of techniques such as incomplete progressions, parenthetical episodes and interpolations in Ibéria.^[8]

III. Rondes de printemps (“Round dances of spring”) (1905–1909)

Debussy used two folk tunes, “Nous n’irons plus au bois” and “Do, do l’enfant do” in this movement.^[8] Brown, Dempster and Headlam have analyzed the tonal structure of this movement.^[9]

Historic musical bits: Martha Argerich, Ravel Jeux d’eau , great compositions/performances

Martha Argerich, Ravel Jeux d’eau

Ranan Chan

Uploaded on Jun 17, 2008

originally telecast july 31,1977

Debussy: Danse (Tarantelle Styrienne) L. 69 , Claudio Arrau

Danse (Tarantelle Styrienne) L. 69

Claudio Arrau – Topic

Danse (Tarantelle Styrienne) L. 69

Claudio Arrau

℗ 2011 Unchained Melodie

Released on: 2011-12-01

Composer: Claude Debussy

 

Claude Debussy – Iberia [Fritz Reiner, Chicago Symphony Orchestra]

KeMin88

Published on Jun 18, 2014

Legendary conductor Fritz Reiner established his legacy when he assumed his directorship of the Chicago Symphony Orchestra. Reiner raised the status of the CSO that of one of the finest in the world. Although not often associated with the works of the French Impressionist composers, these performances from 1958 are considered among the finest from the Reiner/CSO era! Recorded on March 4, April 13 and April 15, 1957 at Orchestra Hall, Chicago. Musicians: Chicago Symphony Orchestra Fritz Reiner, conductor

 

Ludwig van Beethoven: Piano Concerto No.2 Op.19 in B flat major

vivaldi369

 

Published on Sep 16, 2012

Álbum: Beethoven: Edition Vol. 02 – Concertos (Disc 1)
Interprete del álbum: Maurizio Pollini, Wiener Philharmoniker & Sviatoslav Richter, Wiener Symphoniker
Compositor: Ludwig van Beethoven
Año: 1997
Genero: Clásico Romántico Alemán
Movimientos: Allegro con Brio-Adagio-Rondo Molto Allegro
************************************************************************
From Wikipedia, the free encyclopedia

The Piano Concerto No. 2 in B-flat major, Op. 19, by Ludwig van Beethoven was composed primarily between 1787 and 1789, although it did not attain the form it was published as until 1795. Beethoven did write another finale for it in 1798 for performance in Prague, but that is not the finale that it was published with. It was used by the composer as a vehicle for his own performances as a young virtuoso, initially intended with the Bonn Hofkapelle. It was published in 1801, by which time he had also published the Piano Concerto No. 1 in C major, although it had been composed after this work, in 1796 and 1797.^[1]

The B-flat major Piano Concerto became an important display piece for the young Beethoven as he sought to establish himself after moving from Bonn to Vienna. He was the soloist at its premiere on 29 March 1795, at Vienna’s Burgtheater in a concert marking his public debut.^[1] (Prior to that, he had performed only in the private salons of the Viennese nobility.) While the work as a whole is very much in the concerto style of Mozart, there is a sense of drama and contrast that would be present in many of Beethoven’s later works.^[1] Beethoven himself apparently did not rate this work particularly highly, remarking to the publisher Franz Anton Hoffmeister that, along with the Piano Concerto No. 1, it was “not one of my best.”^[2] The version that he premiered in 1795 is the version that is performed and recorded today.

Movements

The work is scored for solo piano, flute, two oboes, two bassoons, two horns and strings.^[3] The concerto is in three movements:

• I. Allegro con brio
• II. Adagio
• III. Rondo. Molto allegro

The first movement begins with a triumphant orchestral opening on the tonic chord, and maintains a playfulness while using chromatic passages to show off the soloist’s dizzying technique. The second movement is characteristically serene and peaceful, while the closing Rondo brings back the youth-filled playfulness heard in the opening movement.

***I. Allegro con brio

This movement is in the concerto variant of sonata form (double-exposition sonata form). The orchestra introduces the main theme and the subordinate theme in its exposition. The second exposition is in F major. The development wanders in key and ends on a long B-flat major scale. The recapitulation is similar to the exposition and is in B-flat major.

There is a rather difficult cadenza composed by Beethoven himself, albeit much later than the concerto itself. Stylistically, the cadenza is very different from the concerto, but it makes good use of the first opening theme. Beethoven applies this melody to the cadenza in several different ways, changing its character each time and displaying the innumerable ways that a musical theme can be used and felt.

This movement was written between 1787 and 1789 in Bonn. Average performances last from thirteen to fourteen minutes.

***II. Adagio

This movement is in E-flat major, the subdominant key. Like many slow movements, it has ABA (ternary) form, where the opening section introduces the themes, and the middle section develops them. This movement was written between 1787 and 1789 in Bonn. Average performances last from eight to nine minutes.

***III. Rondo. Molto allegro

This movement takes the form of a Third Rondo (ABACABA). Beethoven’s playfulness of his early period can be heard here. There is a constant angular feel within the 6/8 melody itself that Beethoven plays on with each return of the rondo theme. The C section is also highly contrasting with the others, being that it is in a minor key and more forceful and stern in meaning. Also, prior to the last appearance of the rondo theme, Beethoven brings the piano in in the “wrong” key of G major, before the orchestra “discovers” the discrepancy and returns to the correct tonic key. This musical joke can be seen in many of Beethoven’s subsequent compositions.

This rondo is the one that Beethoven wrote in 1795 and premiered in Vienna that year. It does show Haydn’s influence. Average performances last from five to six minutes.

Debussy Complete Preludes (Book 1 and 2)

BLOP888

 

Published on Jan 18, 2013/152,724 views

Piano: Theodore Paraskivesco
Book 1:
Be apart of my Facebook page! http://www.facebook.com/Blop888
00:00 – Danseuses de Delphes: Lent et grave (Dancers of Delphi)
03:00: – Voiles: Modéré (Veils / sails)
06:26 – Le vent dans la plaine: Animé (The Wind in the Plain)
08:27 Les sons et les parfums tournent dans l’air du soir»: Modéré
(“The sounds and fragrances swirl through the evening air”)
11:33 – Les collines d’Anacapri: Très modéré (The Hills of Anacapri)
14:22 – Des pas sur la neige: Triste et lent (Footsteps in the Snow)
18:00 – Ce qu’a vu le vent d’ouest: Animé et tumultueux (What the West Wind has seen)
21:20 – La fille aux cheveux de lin: Très calme et doucement expressif (The Girl with the Flaxen Hair)
23:42 – La sérénade interrompue: Modérément animé (Interrupted Serenade)
25:49 – ‘La cathédrale engloutie: Profondément calme (The Submerged Cathedral)
31:13 – La danse de Puck: Capricieux et léger (Puck’s Dance)
33:33 – Minstrels: Modéré
Book 2:
35:36 – Brouillards: Modéré (Mists)
38:21 – Feuilles mortes: Lent et mélancolique (Dead Leaves)
41:10 – La puerta del Vino: Mouvement de Habanera
44:09 – Les fées sont d’exquises danseuses»: Rapide et léger (“Fairies are exquisite dancers”)
47:12 Bruyères: Calme (Heather / town in Eastern France)
49:50 – Général Lavine – eccentric: Dans le style et le mouvement d’un Cakewalk
52:18 – La terrasse des audiences du clair de lune: Lent (The Terrace of Moonlit Audiences)
56:49 – Ondine: Scherzando
1:00:05 – Hommage à S. Pickwick Esq. P.P.M.P.C.: Grave (Homage to S. Pickwick)
1:02:34 – Canope: Très calme et doucement triste (Canopic jar)
1:05:27 – Les tierces alternées: Modérément animé (Alternating Thirds)
1:08:13 – Feux d’artifice: Modérément animé (Fireworks)

Ragtime: Scott Joplin – The Entertainer

Ragtime

Ragtime is a style of American piano music emphasizing syncopation and polyrhythm. Popular in the early 20th century, it was the first form of jazz to exert a wide appeal—thanks, in part, to Scott Joplin and Irving Berlin, its most celebrated composers and performers. In a ragtime composition, the pianist’s left hand keeps an accented beat while the right hand plays a fast, bouncing melody that gives the music its powerful forward impetus. What is the likely origin of the name “ragtime”? More… Discuss

Ragtime Piano : SCOTT JOPLIN . ” The Entertainer ” (1902)

RagtimeDorianHenry

Uploaded on Feb 10, 2009

Scott Joplin (1868-1917)
” The Entertainer ” on a piano roll
ラグタイム
= = = = = = = = = = = = = = = = = =

The BLUES (1925-1945)
Texas Alexander
Pink Anderson
Kokomo Arnold
Barbecue Bob
Scrapper Blackwell
Black Ace
Ed Bell
Blind Blake
Ishman Bracey
Big Bill Broonzy
Richard “Rabbit” Brown
Willie Brown
Bumble Bee Slim
Gus Cannon
Bo Carter
Sam Collins
Floyd Council
Gary Davis
Sleepy John Estes
Blind Boy Fuller
Son House
Peg Leg Howell
Mississippi John Hurt
Papa Charlie Jackson
Jim Jackson
Skip James
Blind Lemon Jefferson
Blind Willie Johnson
Lonnie Johnson
Robert Johnson
Tommy Johnson
Charley Jordan
Luke Jordan
Leadbelly
Furry Lewis
Cripple Clarence Lofton
Tommy McClennan
Robert Lee McCoy
Blind Willie McTell
The Memphis Jug Band
Buddy Moss
Memphis Minnie
Hambone Willie Newbern
Charley Patton
Robert Petway
Jimmie Rodgers
Frank Stokes
Sonny Terry
Henry Thomas
Ramblin Thomas
Curley Weaver
Casey Bill Weldon
Peetie Wheatstraw
Bukka White
Josh White
Robert Wilkins
Big Joe Williams

Claude Debussy: La Mer; Philharmonia Orchestra, Herbert von Karajan , great compositions/performances

Claude Debussy: La Mer; Philharmonia Orchestra, Herbert von Karajan

dvorakslavenskiples

Published on Aug 23, 2012

Claude Debussy (1862-1918)
La Mer, trois esquisses symphoniques pour orchestre (1903-1905)
Das Meer, drei symphonische Skizzen für Orchester

00:10 – 08:57 I. De l’aube à midi sur la mer — très lent (Morgengrauen bis Mittag auf dem Meer — sehr langsam, h-Moll)
08:59 – 15:43 II. Jeux de vagues — allegro (Spiel der Wellen — Allegro, cis-Moll)
15:45 – 24:07 III. Dialogue du vent et de la mer — animé et tumultueux (Dialog zwischen Wind und Meer, lebhaft und stürmisch, cis-Moll)

Philharmonia Orchestra
Dirigent: Herbert von Karajan
Aufnahme: 1953

Claude Debussy – Suite bergamasque

Classical Music

Published on May 20, 2012

1.”Prélude”
2.”Menuet”
3.”Clair de lune“
4.”Passepied“.

Alexander Vaulin, piano.

The Suite bergamasque is one of the most famous piano suites by Claude Debussy. Debussy commenced the suite in 1890 at age 28, but he did not finish or publish it until 1905.
The Suite bergamasque was first composed by Debussy around 1890, but was significantly revised just before its publication in 1905. It seems that by the time a publisher came to Debussy in order to cash in on his fame and have these pieces published, Debussy loathed the earlier piano style in which these pieces were written. While it is not known how much of the Suite was written in 1890 and how much was written in 1905, we do know that Debussy changed the names of at least two of the pieces.
“Passepied” was called “Pavane“, and “Clair de lune” was originally titled “Promenade Sentimentale.” These names also come from Paul Verlaine‘s poems. It is interesting, however, to note that “Promenade Sentimentale” alludes specifically to one of Verlaine’s earliest collections, “Poèmes saturniens,” a fact that Debussy obviously took into account when he changed the name (and most likely a lot of the music) in order to suit both his later style, and Verlaine’s.

SVIATOSLAV RICHTER La Cathedrale Engloutie CLAUDE DEBUSSY: great compositions/performances

SVIATOSLAV RICHTER La Cathedrale Engloutie CLAUDE DEBUSSY

   roger bridgland

Published on Sep 26, 2013

Claude Debussy Preludes Book 1
La Cathedrale engloutie ( The Sunken Cathedral )
Sviatoslav Richter (piano)
Tokyo 1984
クロード·ドビュッシー前奏曲ブック1
ラ·カテドラルのengloutie（サンケン大聖堂）
スヴャトスラフ·リヒテル（ピアノ）
東京1984
 (translatedfrom English to Japanese by Google Translator: Please let me know if the translation is accurate! It probably is sinse the text is standard!)
（Googleの翻訳による日本へtranslatedfrom英語：私は翻訳が正確であれば教えてくださいテキストが標準ですsinseそれはおそらくです！！）

 More music by Debussy

Horowitz plays Debussy L’isle joyeuse,: great compositions/performances

Horowitz plays Debussy L’isle joyeuse

yekhaty

Debussy
L’isle joyeuse (1904)

Played by Vladimir Horowitz

Camille Saint-Saëns – Africa, Op. 89, in G minor – Fantasy for Piano and Orchestra: great composirtions/performances

Saint-Saëns Camille
[Charles Camille]
1835-1921

Camille Saint-Saëns – Africa, Op. 89, in G minor – Fantasy for Piano and Orchestra

  Wolfgang Amadé Mozart

Gabriel Tacchino, piano. Luxemburg Radio Symphony Orchestra, Louis de Froment
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Claude Debussy: La Mer; Philharmonia Orchestra, Herbert von Karajan: great compositions/performances

Claude Debussy: La Mer; Philharmonia Orchestra, Herbert von Karajan

  dvorakslavenskiples

Claude Debussy (1862-1918)
La Mer, trois esquisses symphoniques pour orchestre (1903-1905)
Das Meer, drei symphonische Skizzen für Orchester

00:10 – 08:57 :  I. De l’aube à midi sur la mer — très lent (Morgengrauen  bis Mittag auf dem Meer — sehr langsam, h-Moll)
08:59 – 15:43:   II. Jeux de vagues — allegro (Spiel der Wellen — Allegro, cis-Moll)
15:45 – 24:07 :  III. Dialogue du vent et de la mer — animé et tumultueux (Dialog zwischen Wind und Meer, lebhaft und stürmisch, cis-Moll)

***Philharmonia Orchestra
***Dirigent: Herbert von Karajan
***Aufnahme: 1953

Debussy, Printemps: Suite Symphonique. Pierre Boulez, great compositions/performances

Debussy, Printemps: Suite Symphonique. Pierre Boulez

  Pakito Palote

Debussy,
Printemps: Suite Symphonique
1. Tres Modere
2. Modere
Pierre Boulez

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Claude Debussy – Images pour orchestre: make music pat of yourf life series

Claude Debussy – Images pour orchestre

TedBarchetta

Images pour orchestre by Claude Debussy. Performed by The Cleveland Orchestra conducted by Pierre Boulez. Paintings by Carlos de Haes and Claude Lorraine

Sections:
1. Gigues (0:00)
2. Iberia:
  —     I. Par les rues et par les chemins (7:30)
  —   II. Les parfums de la nuit (14:30)
  — III. Le matin d’un jour de fête (22:00)
3. Rondes de printemps (26:20)

Debussy Prélude à l’après-midi d’un faune, Leonard Bernstein, Boston Symphony Orchestra: great compsitions/performances

Debussy Prélude à l’après-midi d’un faune

  Ofir Gal

Leonard Bernstein conducts Claude Debussy’s Prelude to the Afternoon of a Faun – extract from “The Unanswered Question“, Boston Symphony Orchestra

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Leopold Stokowski “La Cathédrale engloutie” Debussy (1968): great compositions/performances

Leopold Stokowski “La Cathédrale engloutie” Debussy

  Addiobelpassato

“La Cathédrale engloutie” The sunken Cathedral”
for piano by Claude Debussy,
arranged for orchestra by Leopold Stokowski
New Philharmonia Orchestra
Leopold Stokowski, conductor
1968

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Claude Debussy : Clair de Lune, for Piano (Suite Bergamasque No. 3), L. 75/3: make music part of your life series

Claude Debussy : Clair de Lune, for Piano (Suite Bergamasque No. 3), L. 75/3 Performed by Kun Woo Paik

  junghoonchung’s channel

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Claude Debussy – Sonata for Flute, Viola and Harp: make music part of your life series

Claude Debussy – Sonata for Flute, Viola and Harp

  Classical Music
Doriot Anthony Dwyer, flute.
Burton Fine, viola.
Ann Hobson, harp.

– Pastorale. Lento, dolce rubato.
– Interlude: Tempo di Minuetto.
– Finale. Allegro moderato ma risoluto.

Syrinx, for Flute solo. Doriot Anthony Dwyer, flute.

The Sonata for flute, viola and harp (French: Sonate pour flûte, alto, et harpe), L. 137, was written by Claude Debussy in 1915.
The first performance was a private one at the home of Jacques Durand, Debussy’s publisher, on December 10, 1916 and the first public performance was thought to be at a charity concert on March 9, 1917 (Walker, 1988). However, Thompson (1968) reported a performance of the sonata at London’s Aeolian Hall by Albert Fransella, H. Waldo Warner and Miriam Timothy on February 2, 1917 as part of a concert otherwise given by the London String Quartet.
According to Léon Vallas (1929, cited in Walker, 1988), Debussy initially planned this as a piece for flute, oboe and harp. He subsequently decided that the viola’s timbre would be a better combination for the flute than the oboe’s, so he changed the instrumentation to flute, viola and harp

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Claude Debussy Estampes Pianista Andrea Bambace live Trento SocietàFilarmonica 1984 : make music part of your life series

Claude Debussy Estampes Pianista Andrea Bambace live Trento SocietàFilarmonica 1984

  Andrea Bambace

Claude Debussy Estampes Pianista Andrea Bambace da un Recital a Trento, Società Filarmonica 7 dicembre 1984

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Debussy Prélude à l’après-midi d’un faune (Boston Symphony Orchestra/ Leonard Bernstein Conducting): great compositions/performances

Debussy Prélude à l’après-midi d’un faune (Boston Symphony Orchestra/ Leonard Bernstein Conducting)

  Ofir Gal

Leonard Bernstein conducts Claude Debussy’s Prelude to the Afternoon of a Faun – extract from “The Unanswered Question”, Boston Symphony Orchestra

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Claude Debussy – Printemps (Suite symphonique): great compositions/performances

Claude Debussy – Printemps (Suite symphonique)

Orquestra Sinfônica de Minas Gerais – (OSMG)
Regência: Charles Roussin

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Wilhelm Furtwängler “Rapsodie espagnole” Ravel: unique musical moments

FROM:

Addiobelpassato

Wilhelm Furtwängler “Rapsodie espagnole” Ravel

Rapsodie espagnole by Maurice Ravel
1. Prélude à la nuit: Très modéré
2. Malaguena: Assez vif
3. Habanera: Assez lent et d`un rythme las
4. Feria:Assez animé
Wiener Philharmoniker
Wilhelm Furtwängler, conductor
Stuttgart, 22.XI.1951

 

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Claude Debussy: L’Isle joyeuse L 106 (make music part of your life series)

[youtube.com/watch?v=Mva_kqhZ2zU]

Claude Debussy: L’Isle joyeuse

L 106

Created with http://www.mp32tube.comL’isle joyeuse, L. 106 (The Island of Pleasure) is an extended solo piano piece by Claude Debussy composed in 1904. According to Jim Samson (1977), the central relationship in the work is that between material based on the whole-tone scale, the lydian mode

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great compositions/performances: Debussy Prélude à l’après-midi d’un faune

[youtube.com/watch?v=EvnRC7tSX50]

Debussy Prélude à l’après-midi d’un faune

Leonard Bernstein conducts Claude Debussy‘s Prelude to the Afternoon of a Faun – extract from “The Unanswered Question“, Boston Symphony Orchestra

Check my channel for more music http://www.youtube.com/user/ofirgal

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Make Music Part of Your Life Series: Debussy, Printemps: Suite Symphonique. Pierre Boulez

[youtube.com/watch?v=nZkgyIdXt44]

Debussy, Printemps: Suite Symphonique. Pierre Boulez

Debussy,
Printemps: Suite Symphonique
1. Tres Modere
2. Modere
Pierre Boulez

 

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Make Music Part of Your Life Series: Frederic Chopin- Nocturne no. 6 op. 15 no. 3 in G Minor

[youtube.com/watch?v=fpzzfGICBnQ]

Frederic Chopin– Nocturne no. 6 op. 15 no. 3 in G Minor
Performed by Adam Harasiewicz

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Claude Debussy : Clair de Lune, for Piano (Suite Bergamasque No. 3), L. 75/3

Performed by Kun Woo Paik

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Wagner -Make Music Part of Your Life Series: Prelude and Liebestod from ‘Tristan Und Isolde’ (Karajan-BPO-Berlin Philharmonic Orchestra)

From  the Author-DjangoMan1963:  “This is my personal vote for the greatest piece of music ever.
The version here is by the Berlin Philharmonic, conducted by the late, great Herbert Von Karajan.

The jewish coductor Daniel Barenboim aptly said: “The music is bigger than the man”. Anyone who dismisses Wagner’s music on the basis of his views as a man, is missing something truly wonderful.

I’ve chosen Karajan’s version because he gets the tempo and the feel just right. Not too much vibratro here, which other conductors sometimes bring to the piece, making it sound too overwrought. He gets it spot on. A touch of vibrato, but he let’s the notes speak for themselves, whilst the languid tempo evokes a mystical atmosphere to the piece.

I hope you enjoy this wonderful music.”

From Wikipedia, the free encyclopedia

 

Richard Wagner

Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Straßburg. It was composed between 1857 and 1859 and premiered in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it “eine Handlung” (literally a drama. a plot or an action), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas.
Wagner’s composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation) and his affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertory, Tristan was notable for Wagner’s unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension.
The opera was inexorably influential among Western classical composers and provided direct inspiration to composers such as Gustav Mahler, Richard Strauss, Karol Szymanowski, Alban Berg, Arnold Schönberg and Benjamin Britten. Other composers like Claude Debussy, Maurice Ravel and Igor Stravinsky formulated their styles in contrast to Wagner’s musical legacy. Many see Tristan as the beginning of the move away from common practice harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century.^[1] Both Wagner’s libretto style and music were also profoundly influential on the Symbolist poets of the late 19th Century and early 20th Century.^[2]

Composition history

Wagner was forced to abandon his position as conductor of the Dresden Opera in 1849, as there was a warrant posted for his arrest for his participation in the unsuccessfulMay Revolution. He left his wife, Minna, in Dresden, and fled to Zürich. There, in 1852, he met the wealthy silk trader Otto Wesendonck. Wesendonck became a supporter of Wagner and bankrolled the composer for several years. Wesendonck’s wife, Mathilde, became enamoured of the composer. Though Wagner was working on his epic Der Ring des Nibelungen, he found himself intrigued by the legend of Tristan and Iseult.

The re-discovery of mediæval Germanic poetry, including Gottfried von Strassburg‘s version of Tristan, the Nibelungenlied and Wolfram von Eschenbach‘s Parzival, left a large impact on the German Romantic movements during the mid-19th century. The story of Tristan and Isolde is a quintessential romance of the Middle Ages and theRenaissance. Several versions of the story exist, the earliest dating to the middle of the 12th century. Gottfried’s version, part of the “courtly” branch of the legend, had a huge influence on later German literature.^[3]

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Make Music Part of Your Life Series: Claudio Arrau plays Debussy Estampes, no.2, “La soirée dans Grenade”

From Wikipedia, the free encyclopediaEstampes (Prints), L.100, is a composition for solo piano by Claude Debussy. It was finished in 1903.

Estampes contains three movements:

1. Pagodes (Pagodas) – approx. 6 minutes.
2. La soirée dans Grenade (The Evening in Granada) – approx. 5½ minutes.
3. Jardins sous la pluie (Gardens in the Rain) – approx. 3½ minutes.^[1]

II. La soirée dans Grenade

La soirée dans Grenade uses the Arabic scale and mimics guitar strumming to evoke images of Granada, Spain. At the time of its writing, Debussy’s only personal experience with the country was a few hours spent in San Sebastián.^[2] Despite this, the Spanish composer Manuel de Falla said of Soirée, “There is not even one measure of this music borrowed from the Spanish folklore, and yet the entire composition in its most minute details, conveys admirably Spain“.^[3]

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Great compositions/Performances: Debussy, Printemps: Suite Symphonique. Pierre Boulez

Claude Debussy

Printemps, symphonic suite for chorus, piano & orchestra, L. 61

1. Tres Modere

2. Modere 
Pierre Boulez

From AllMusic: 

One of Debussy‘s assignments as a Prix de Rome scholar at the Villa Medici in 1887 was to send back to the Fine Arts Academy in France an orchestral score so his benefactors could judge his professional progress. All Debussy managed to turn in was a piano duet called Printemps, or “Spring”; he claimed that the full score, complete with humming chorus, had been destroyed in a fire. Not until 1913 did he get around to generating an orchestral version, and even then the work was assigned to Henri Büsser who, working from the keyboard original, had no access to any original choral material. In a nod to the music’s origins, Büsser included a prominent but not quite concertante keyboard part in the finished score.

The Academy committee found the piece to be excessively progressive, which in the late 1880s meant little more than Wagnerian in its chromaticism. (The committee’s condemnation includes the first recorded application of the term “Impressionism” to Debussy‘s music.) Only in the orchestration did the music begin to sound like mature, Impressionistic Debussy, that effect achieved through timbre rather than harmony. The composer said he intended to compose a work “of a particular color, covering as wide a range of sensations as possible.” Actually, in terms of sensations, Printemps is limited to two: yearning, giving way to relaxed happiness. Debussydescribed the music’s program as “the slow, laborious birth of beings and things in nature, and then their blossoming outward and upward, and finally a burst of joy at being reborn to new life.” Consequently, the piece falls into two movements, both at moderate tempo, and neither employ particularly straightforward or memorable melodic material; the emphasis is entirely on mood.

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Great compositions/Interpretations:Debussy – Six Epigraphes Antiques – Piano Duet: Valeria Szervánszky & Ronald Cavaye

[youtube.com/watch?v=vwwU_3T8S60]

Great compositions/Interpretations:Debussy – Six Epigraphes Antiques – Piano Duet: Valeria Szervánszky & Ronald Cavaye
Painting by Jenö Szervánszky

Antique Epigraphs is a ballet made on New York City Ballet by balletmaster Jerome Robbins to an orchestrated version of Debussy’s Six épigraphes antiques, L131, for piano, four hands, from 1914:…..

“Pour invoquer Pan, dieu du vent d’été” “Pour un tombeau sans nom”

“Pour que la nuit soit propice” “Pour la danseuse aux crotales”

“Pour l’égyptienne” “Pour remercier la pluie au matin”

…..and his Syrinx, L129, a melody for unaccompanied flute from 1913. Six épigraphes antiques were originally written to accompany Pierre Louys‘ Chanson de Bilitis, prose poetry which was purported to be a translation of freshly discovered autobiographical verse by Sappho (it was not).^[1][2] The premiere took place on February 2, 1984, at the New York State Theater, Lincoln Center, with costumes by Florence Klotz and lighting by Jennifer Tipton.

 

 

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Claude Debussy – Six Épigraphes antiques (1914): V. Pour l’Egyptienne

[youtube.com/watch?v=PyEwTkVEH80&list=PL5C9F7FC772D162F7]

Claude Debussy 
(1862 – 1918)
Complete music for piano solo (in chronological order)
Six Épigraphes antiques (1914)
V. Pour l’Egyptienne

Claude Debussy (1862-1918): “La plus que lente” ( part of Henry and June Playlist WOW….What enchanting music one and all!)

The composer Claude Debussy needs little introduction. As a pianist, he was noted for his avoidance of the crisp, dry and articulated style which typified French pianism of the nineteenth century. His style of playing was simple, highly tone-conscious and completely uncluttered by over-expressive angst.

The recording is a piano roll recording made by Debussy for Welte in 1913 (just three years after the work was composed). The piano rolls for Welte are amongst the most accurate we have, conveying the original performed dynamics, attack and pedalling rather faithfully, and when a good roll is played on a properly conditioned piano, the problems of dubious rhythmic bumpiness which infect many roll playbacks can vanish. This rendition seems as fine as we could hope for.

This work, “La plus que lente“, is a very slow waltz of sorts, composed in 1910.

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GREAT PERFORMANCES: Earl Wild Plays Debussy Danse Tarantelle Styrienne

Earl Wild Plays Debussy Danse Tarantelle Styrienne

 

Debussy: Suite bergamasque – 3. Clair de lune (1890-1905)

Claude Debussy 
(1862 – 1918) 
Complete music for piano solo (in chronological order) 
Suite bergamasque – 3. Clair de lune (1890-1905)

From Wikipedia, the free encyclopedia

 

An excerpt from “Clair de lune,” the third movement of the Suite bergamasque.

The Suite bergamasque (French pronunciation: ​[bɛʁɡamask]) is one of the most famous pianosuites by Claude Debussy. Debussy commenced the suite in 1890 at age 28, but he did not finish or publish it until 1905.^[1]

The Suite bergamasque was first composed by Debussy around 1890, but was significantly revised just before its publication in 1905. It seems that by the time a publisher came to Debussy in order to cash in on his fame and have these pieces published, Debussy loathed the earlier piano style in which these pieces were written.^[1] While it is not known how much of the Suite was written in 1890 and how much was written in 1905, it is clear that Debussy changed the names of at least two of the pieces. “Passepied” was called “Pavane”, and “Clair de lune” was originally titled “Promenade Sentimentale.” These names also come fromPaul Verlaine‘s poems.^[1]

Movements

The Suite bergamasque consists of four movements:

1. “Prélude”
2. “Menuet”
3. “Clair de lune”
4. “Passepied”

The suite has been orchestrated by many composers, including André Caplet, Leopold Stokowski, and Lucien Cailliet. Dimitri Tiomkin arranged “Clair de lune” for organ for his musical score for Warner Brothers’ 1956 film Giant.

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Great Performances: Claude Debussy, Sarabande pour le Piano, L95. Claudio Arrau, piano. — Lista de reproducción Claude Debussy: http://www.youtube.com/playlist?list=…

Claude Debussy, 
Sarabande pour le Piano, L95. 
Claudio Arrau, piano.
—
Lista de reproducción Claude Debussy:
http://www.youtube.com/playlist?list=…
—

• Claudio Arrau

  Pianist

• Claudio Arrau León was a Chilean pianist known for his interpretations of a vast repertoire spanning from the baroque to 20th-century composers, especially Beethoven, Schubert, Chopin, Schumann, Liszt and Brahms. Wikipedia

 

• Born: February 6, 1903, Chillán, Chile

• Died: June 9, 1991, Mürzzuschlag, Austria

• Education: Stern Conservatory

• Record label: Deutsche Grammophon

• Albums: Beethoven: Complete Piano Sonatas, More

• Movies: The Golden Age of the Piano

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Claude Debussy Printemps, symphonic suite, conductor Francesco Mander

Francesco Mander conducts the symphonic suite “Printemps” by Claude Debussy. There are two movements: Très modéré – Modéré. This is a very early work by the composer. The orchestra is the National Symphony Orchestra

 

Debussy: Arabesque II (1888)

Claude Debussy 
(1862 – 1918) 

Complete music for piano solo (in chronological order) 

Deux Arabesque : Arabesque II (1888)

Unforgettable Compositions: Claude Debussy : Claude Debussy: Children’s Corner Suite L 113 with André Caplet 1911

Claude Debussy : Children’s Corner Suite – orch. André Caplet 1911
Orchestre National de l’O.R.T.F., Jean Martinon, 1974
oboe: Jules Goetgheluk

1. Doctor Gradus ad Parnassum
2. Jimbo’s Lullaby
3. Serenade for the Doll
4. The Snow is Dancing
5. The Little Shepherd
6. Golliwogg’s Cakewalk

Achille-Claude Debussy (aʃil klod dəbysi) (22 August 1862- 25 March 1918)

Children’s Corner (L.113) is a six-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was given its world première in Paris by Harold Bauer on December 18 of that year. In 1911, an orchestration of the work by Debussy’s friend André Caplet received its première and was subsequently published.

more info: http://en.wikipedia.org/wiki/Children…
http://youtu.be/OTuZMQt6w5c

Max Bruch

Max Bruch

Max Christian Friedrich Bruch (6 January 1838 – 2 October 1920), also known as Max Karl August Bruch,^[1] was a German Romanticcomposer and conductor who wrote over 200 works, including three violin concertos, the first of which has become a staple of the violin repertory.

Life

Bruch was born in Cologne, Rhine Province, where he received his early musical training under the composer and pianist Ferdinand Hiller, to whom Robert Schumann dedicated his piano concerto in A minor. Bohemian composer and piano virtuoso Ignaz Moscheles recognized his aptitude.

At the age of nine he wrote his first composition, a song for his mother’s birthday. From then on music was his passion, his studies enthusiastically supported by his parents. Many small early creative works included motets, psalm settings, piano pieces, violin sonatas, a string quartet and even orchestral works like the prelude to a planned opera “Joan of Arc”. Few of these early works have survived, however.

The first music theory lesson was in 1849 in Bonn by Professor Heinrich Carl Breidenstein, a friend of his father. At this time he stayed at estate in Bergisch Gladbach, where he wrote much of his music. The farm belonged to the lawyer and notary Neissen, who lived in it with his unmarried sister. Later the estate was bought by the Zanders family who owned a large paper mill. The young Bruch was taught by his father in French and English conversation. In later years, Mary Zanders became a friend and patron.

Bruch had a long career as a teacher, conductor and composer, moving among musical posts in Germany:Mannheim (1862–1864), Koblenz (1865–1867), Sondershausen, (1867–1870), Berlin (1870–1872), and Bonn, where he spent 1873–78 working privately. At the height of his career he spent three seasons as conductor of the Liverpool Philharmonic Society (1880–83). There he met his wife, Clara Tuczek. He taught composition at the Berlin Hochschule für Musik from 1890 until his retirement in 1910. Bruch died in his house in Berlin-Friedenau in 1920.

Great Musical Moments: Arturo Benedetti Michelangeli – Debussy – Préludes, Book 1

Claude Debussy
Préludes, Book 1

00:00 I Danseuses de Delphes. Lent et grave
03:08 II Voiles. Modéré
07:07 III Le vent dans la plaine. Animé
09:19 IV Les sons es les parfums tournent dans l’air du soir. Modéré
12:55 V Les collines d’Anacapri. Très modéré
16:09 VI Des pas sur la neige. Triste et lent
20:13 VII Ce qu’a vu le vent d’Ouest. Animé et tumultueux
23:51 VIII La fille aux cheveux de lin. Très calme et doucement expressif
26:17 IX La sérénade interrompue. Modérément animé
28:53 X La cathédrale engloutie. Profondément calme
35:17 XI La danse de Puck. Capricieux et léger
38:12 XII Minstrels. Modéré

Arturo Benedetti Michelangeli, piano

 

Claude Debussy: Images For Orchestra, L 122 – Iberia: Par Les Rues Et Par Les Chemins

Claude Debussy: Images For Orchestra, L 122 – Iberia: Par Les Rues Et Par Les Chemins – Milan Horvat: ORF Symphony Orchestra.

Achille-Claude Debussy (* 22. August 1862 in Saint-Germain-en-Laye; † 25. März 1918 in Paris) was a French composer of Impressionist, his music is as a link between romanticism and modernism.