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debussy sonata for flute, viola, and harp program notes

13 Nov 20
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The final decades of the nineteenth century produced a wave of nationalist fervor in France which touched artistic circles acutely. ), or his sixth sonata, in which the composer intended to synthesize the previous five. My intention was to write a kind of high-class dinner music — music which could be played at a restaurant, but might also (just barely) find its way into a concert hall. However, a more likely source of inspiration for Strauss was the poem, (No one will know himself). In response both to political events (notably France’s embarrassing defeat in the Franco-Prussian War of 1870-71) and musical circumstances (put simply, Wagner), French composers sought urgently to reaffirm a sense of “French” musical identity. A second section is more spry, with dotted rhythms and tremolos in the viola, and a quickening of tempo. {{text}} Preparatory materials discovered in 1990, however, indicate that his original vision for the work was as a string septet, and it is a completed version for that instrumentation which is performed this evening. The Sonata for flute, viola, and harp (French: Sonate pour flûte, alto, et harpe), L. 137, was written by the French composer Achille-Claude Debussy (22 August 1862 – 25 March 1918) in 1915. Goethe, delving into questions of science and philosophy, had developed his own notion of “metamorphosis” in his. I could do so, however, without embarrassment for it is the music of a Debussy whom I no longer know. All Rights Reserved. Was er ist und was er war, The first movement is not in sonata form, but features six themes whose repetitions are freely varied as the movement proceeds. Paul Schoenfield has provided the following program note to accompany Café Music: The idea to compose Café Music first came to me in 1985 after sitting in one night for the pianist at Murray’s Restaurant in Minneapolis, Minnesota. A paraphrase of a beautiful Chassidic melody is incorporated in the second movement. Tonight’s concert spans a vast emotional range, from the protean levity of Schoenfield’s Café Music to Strauss’s intensely poignant Metamorphosen. The work draws on many of the types of music played by the trio at Murray’s. The Interlude is more pastoral than the "Pastorale" first movement, a veritable romp through the meadow with a leaping, carefree melody shared by flute and viola over a tapestry of harp. It was written in 1915 as part of a planned set of six sonatas for various instrumental combinations; Debussy’s final illness and death in 1918 prevented the completion of the project. Brunswick, ME 04011-8463, Admissions: grace@bowdoinfestival.org Here it is played by the “Formosa Trio”, Pei-San Chiu (flute), Tze-Ying Wu (viola) and Joy Yeh (harp). The Ultra theme is Themify's flagship theme. Paul Schoenfield has provided the following program note to accompany. Built to work seamlessly with our drag & drop Builder plugin, it gives you the ability to customize the look and feel of your content. Was nach außen endlich, klar, This site uses cookies to offer you the best possible experience. Give Now A verse from Goethe’s original poem is printed below. In this spirit, composers turned to a variety of sources in search of musical materials that represented some notion of “French” identity: folk music from the French regions; the music of Ancient Greece, believed to be the ancestral fount of French civilisation; and, as in the case of this sonata by Debussy, the French Baroque traditions of the seventeenth and eighteenth century. | Designed by Eri Design, Debussy affirmed his aims in a letter to Stravinsky which, in 1915, evinces his nationalist and anti-Wagnerian sentiments: “I’ve been writing nothing but pure music: twelve etudes for piano, and two Sonatas for diverse instruments, in our old form, which graciously did not impose. Its ambiguity of harmony and form, fragmented, halting phrases, and almost pointillistic use of color bear striking resemblance to earlier orchestral works such as La mer and Prélude à l'après-midi d'un faune. All Rights Reserved. Strauss’s late and introspective Metamorphosen was written at a time when much of the German nation was coping with the trauma afflicted upon many of its people by the Nazis and upon its territory by years of warfare. However, a more likely source of inspiration for Strauss was the poem, Niemand wird sich selber kennen (No one will know himself). The finale is, again, essentially freely structured though highly energetic, beginning with a persistent, motoric 16th-note figure passed between the harp and viola. Visita nuestra página web en español. Scholars’ attempts to answer these questions have largely been inconclusive; a long-prevailing notion that Metamorphosen served to memorialize the city of Munich, razed by Allied air raids in 1944, has been challenged by more recent research. CLAUDE DEBUSSY. Given the musical intensity of, , it is tempting to search for meaning in this work: might the work, for example, help elucidate Strauss’s beleaguered relationship to Nazi Germany, between his frequent complicity with the regime and his private antipathy toward its politics? The final decades of the nineteenth century produced a wave of nationalist fervor in France which touched artistic circles acutely. He called his work desk “a factory of nothingness.” It's a WordPress designed to give you more control on the design of your theme. What is more certain is that at the time of the composition of, , Strauss was immersing himself in the works of Goethe, who represented for him the summit of the German art and humanism that appeared under threat in the twentieth century. For details on how we use cookies, see our. Reproduction Rights: This program note may be reproduced free of charge in concert programs with a credit to the author. Doch probier er jeden Tag, Although Debussy used the familiar term “sonata” to describe the present work, there is very little that is traditional about either its combination of instruments or the formal structure of the work itself. Strauss had copied the lines into his sketchbooks and had begun to set it to music, but later incorporated those materials into Metamorphosen. War threatened Paris, his marriage was unhappy, and pain from rectal cancer hobbled him. Its opening harp arpeggio is joined by flute acrobatics; viola sneaks in in unison with the flute and introduces a disjointed, dreamy, watery theme. ${{ price.displayPrice }} Composed as World War II was drawing to a close in Germany, Metamorphosen is performed this evening in its original scoring for string septet. What is more certain is that at the time of the composition of Metamorphosen, Strauss was immersing himself in the works of Goethe, who represented for him the summit of the German art and humanism that appeared under threat in the twentieth century. Work Title Sonata for Flute, Viola & Harp Alt ernative. What is intended by the words “In Memoriam”, marked by the composer beneath the work’s third theme, which is a quotation from the funeral march of Beethoven’s, Symphony? Murray’s employs a house trio which plays entertaining dinner music in a wide variety of styles. Its ambiguity of harmony and form, fragmented, halting phrases, and almost pointillistic use of color bear striking resemblance to earlier orchestral works such as La mer and Prélude à l'après-midi d'un faune. first came to me in 1985 after sitting in one night for the pianist at Murray’s Restaurant in Minneapolis, Minnesota. Debussy wrote in the manuscript of his violin sonata that the fourth sonata should be written for oboe, horn, and harpsichord, and the fifth for trumpet, clarinet, bassoon and piano. Sich von seinem Selbst-Ich trennen; . The finale adds a fiery element to the ideas introduced so far: The pace is quickened, the texture becomes more dense, the tessitura lower.

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