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Paul Dukas

January 01, 1970

Paul Abraham Dukas (French: [dykɑ(ː)s] or [dyka];[1] 1 October 1865 – 17 May 1935) was a French composer, critic, scholar and teacher. A studious man of retiring personality, he was intensely self-critical, having abandoned and destroyed many of his compositions. 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. Among these are the opera Ariane et Barbe-bleue, his Symphony in C and Piano Sonata in E-flat minor, the Variations, Interlude and Finale on a Theme by Rameau (for solo piano), and a ballet, La Péri.

Paul Dukas

At a time when French musicians were divided into conservative and progressive factions, Dukas adhered to neither but retained the admiration of both. His compositions were influenced by composers including Beethoven, Berlioz, Franck, d'Indy and Debussy.

In tandem with his composing career, Dukas worked as a music critic, contributing regular reviews to at least five French journals. 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, Walter Piston, Manuel Ponce, Joaquín Rodrigo and Xian Xinghai.

Life and career edit

Early years edit

 
Dukas's teachers, Georges Mathias (top l.), Théodore Dubois (top r.) and Ernest Guiraud (bottom l.), and Dukas' fellow student Claude Debussy

Dukas was born in Paris, the second son in a Jewish family of three children.[2][3] His father, Jules Dukas, was a banker, and his mother, Eugénie, was a capable pianist.[3][4] When Dukas was five years old, his mother died giving birth to her third child, Marguerite-Lucie.[3] Dukas took piano lessons but showed no unusual musical talent until he was 14 when he began to compose while recovering from an illness.[3] He entered the Conservatoire de Paris at the end of 1881, aged 16, and studied piano with Georges Mathias, harmony with Théodore Dubois and composition with Ernest Guiraud.[5] Among his fellow students was Claude Debussy, with whom Dukas formed a close friendship.[2] Two early overtures survive from this period, Goetz de Berlichingen (1883) and Le Roi Lear (1883). The manuscript of the latter was rediscovered in the 1990s and the work was performed for the first time in 1995.[3]

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.[5] Disappointed at his failure to win the top prize, he left the Conservatoire in 1889.[6] After compulsory military service he began a dual career as a composer and a music critic.[5]

1890s edit

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.[3] 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.[5] 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. Based on a tragedy by Corneille, the work, like many French works of the period, shows the influence of Wagner,[2] but is coherent and displays some individuality.[5]

 
Gazette des Beaux-Arts, for which Dukas wrote music criticism

Although Dukas wrote a fair amount of music, he was a perfectionist and destroyed many of his pieces out of dissatisfaction with them.[4] Only a few of his compositions remain. After Polyeucte, he began writing an opera in 1892. He wrote his own libretto, Horn et Riemenhild, but he composed only one act, "realising too late that the work's developments were more literary than musical".[7]

The Symphony in C major was composed in 1895–96, when Dukas was in his early 30s. It is dedicated to Paul Vidal, and had its first performance in January 1896, under the direction of the dedicatee.[5] 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. 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."[5] Like Franck's only symphony, Dukas's is in three movements rather than the conventional four. 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. The high-spirited, impetuous first movement, Allegro non troppo vivace is intensely rhythmic. Its logical structure, strong thematic material, polyphonic richness and virile instrumentation combine to create an exhilarating effect of life and pageant color. 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. The robust last movement, Allegro spiritoso, so verdant in instrumentation, brings the symphony to a vigorous close.[5]

The work received a mixed reception at its first performance. Désiré-Émile Inghelbrecht, later known as a conductor, was a member of the orchestra at the premiere, and wrote, "the work which nowadays seems to us so lucid aroused not only the protestations of the public, but also those of the musicians of the orchestra."[8] The symphony was better received when the Lamoureux Orchestra revived it in 1902.[8]

The symphony was followed by another orchestral work, by far the best known of Dukas' 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)[9] based on Goethe's poem "Der Zauberlehrling".[2] 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.[5] The popularity of the piece became a matter of irritation to Dukas.[6] 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."[3]

20th-century works edit

 
Costume design for Dukas's La Péri by Léon Bakst, 1922.

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).[3] 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".[10] Both works were premiered by Édouard Risler, a celebrated pianist of the era.[11] There are also two smaller works for piano solo. The Sonata, described by the critic Edward Lockspeiser as "huge and somewhat recondite",[10] did not enter the mainstream repertoire, but it has been more recently championed by such pianists as Marc-André Hamelin and Margaret Fingerhut.[12][13] Lockspeiser describes the Rameau Variations as more developed and assured ... Dukas infuses the conventional form with a new and powerful spirit."[10]

In 1899 Dukas turned once again to operatic composition. 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). The work is a setting of a libretto by Maurice Maeterlinck.[14] The author had intended the libretto to be set by Grieg but in 1899 he offered it to Dukas.[15] Dukas worked on it for seven years and it was produced at the Opéra-Comique in 1907.[3] The opera has often been compared to Debussy's Pelléas et Mélisande which was first performed while Dukas was writing Ariane et Barbe-bleue. Not only are both works settings of Maeterlinck, but there are musical similarities; Dukas even quotes from the Debussy work in his score.[14] 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.[3] Nonetheless, within a short time of its premiere, Dukas's opera was produced in Vienna, where it aroused much interest in Schoenberg's circle, and in Frankfurt, Milan and New York.[3] 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,[16] and Sir Thomas Beecham, who pronounced it "one of the finest lyrical dramas of our time,"[17] and staged it at Covent Garden in 1937.[18] Interest in it revived in the 1990s, with productions in Paris (Théâtre du Châtelet, 1990) and Hamburg (Staatsoper, 1997),[3] and at the Opéra Bastille in Paris in 2007.[19]

Dukas's last major work was the sumptuous oriental ballet La Péri (1912). 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).[20] 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. La Péri was written for the Russian-French dancer Natalia Trouhanova, who starred in the first performance at the Châtelet in 1912. 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.[3]

In 1916, Dukas married Suzanne Pereyra (1883-1947), who was of Portuguese descent. They had one child, a daughter Adrienne-Thérèse, born in December 1919.[3]

Later years edit

 
Paul Dukas and students of his composition class at the Paris Conservatoire, 1929. Olivier Messiaen is on the extreme right; Maurice Duruflé stands next to him

In the last years of his life, Dukas became well known as a teacher of composition. When Charles-Marie Widor retired as professor of composition at the Paris Conservatoire in 1927, Dukas was appointed in his place.[5] He also taught at the École Normale de Musique in Paris. His many students included Jehan Alain, Elsa Barraine, Yvonne Desportes, Francis Chagrin, Carlos Chávez, Maurice Duruflé, Georges Hugon, Jean Langlais, Olivier Messiaen, Walter Piston, Manuel Ponce, Joaquín Rodrigo, David Van Vactor and Xian Xinghai.[2][3][21] As a teacher he was conservative but always encouraging of talent, telling one student, "It's obvious that you really love music. Always remember that it should be written from the heart and not with the head."[20] He said his method of teaching was "to help young musicians to express themselves in accordance with their own natures. Music necessarily has to express something; it is also obliged to express somebody, namely, its composer."[5] 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".[3]

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.[15] After several years of silence, in 1920 he produced a tribute to his friend Debussy in the form of La plainte, au loin, du faune... for piano, which was followed by Amours, a setting of a sonnet by Pierre de Ronsard, for voice and piano, published in 1924 to mark the four hundredth anniversary of the poet's birth.[4] Shortly before his death he had been working on a symphonic poem inspired by Shakespeare's The Tempest,[4] a play of which he had made a French translation in 1918 with an operatic version in mind.[3]

In the last year of his life Dukas was elected to membership of the Académie des Beaux-Arts.[15] Though adhering to neither the progressive nor conservative factions among French musicians of the era, Dukas had the friendship and respect of both.[6] In 1920, Vincent d'Indy published a study of Dukas's music;[3] Debussy remained a lifelong friend, though feeling that Dukas's music was not French enough;[15] 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;[5] Fauré dedicated his Second Piano Quintet to Dukas in 1921.[22]

In 1920, he became a member of the Royal Academy of Science, Letters and Fine Arts of Belgium.[23]

Dukas died in Paris in 1935, aged 69. He was cremated and his ashes were placed in the columbarium at Père Lachaise Cemetery in Paris.[24]

List of works edit

Published by the composer edit

Early unpublished works edit

  • Air de Clytemnestre, for voice and small orchestra (1882)
  • Goetz de Berlichingen, overture for orchestra (1883)
  • Le roi Lear, for orchestra (1883)
  • Chanson de Barberine, for soprano and orchestra (1884)
  • La fête des Myrthes, for choir and orchestra (1884)
  • L'ondine et le pêcheur, for soprano and orchestra (1884)
  • Endymion, cantata for three solo voices and orchestra (1885)
  • Introduction au poème "Les Caresses", for piano (1885)
  • La vision de Saül, cantata for three solo voices and orchestra (1886)
  • La fleur, for choir and orchestra (1887)
  • Fugue (1888)
  • Hymne au soleil, for choir and orchestra (1888)
  • Velléda, cantata for three solo voices and orchestra (1888)
  • Sémélé, cantata for three solo voices and orchestra (1889)

Destroyed and projected works edit

  • Horn et Riemenhild, opera (1892)
  • L'arbre de science, opera (1899)
  • Le fil de parque, symphonic poem (c.1908)
  • Le nouveau monde, opera (c.1908–1910)
  • Le sang de Méduse, ballet (1912)
  • Symphony No. 2 (after 1912)
  • Violin Sonata (after 1912)
  • La tempête, opera (c.1918)
  • Variations choréographiques, ballet (1930)
  • An untitled orchestral work for Boston Symphonic Orchestra (1932)

Notes edit

  1. ^ Deneuville, Thomas. "French Composers' Names – Paul Dukas". I Care If You Listen. Retrieved 12 June 2022.
  2. ^ a b c d e Lockspeiser, p. 89
  3. ^ a b c d e f g h i j k l m n o p q r Schwartz, Manuela and G.W. Hopkins. "Dukas, Paul." Grove Music Online, Oxford Music Online, accessed 19 March 2011 (subscription required)
  4. ^ a b c d Havard de la Montagne, Denis. "Paul Dukas", Musica et Memoria (French text), accessed 18 March 2011
  5. ^ a b c d e f g h i j k l Schwerké, Irving. "Paul Dukas: A Brief Appreciation", The Musical Quarterly, July 1928, pp. 403–412, accessed 17 March 2011 (subscription required)
  6. ^ a b c "Paul Dukas", The Musical Times, July 1935, pp. 655–656, accessed 17 March 2011 (subscription required)
  7. ^ Dukas, quoted in Grove
  8. ^ a b Langham Smith, Richard (1994). Notes to Chandos CD 209225
  9. ^ Indicative timings: 10 minutes 04 seconds on HMV LP 1432 (NBC Symphony Orchestra and Arturo Toscanini, 1957); 10' 44" on DG CD 419 617-2 (Berlin Philharmonic Orchestra and James Levine, 1987); 11' 31" on Chandos CD CHAN 241-32 (Ulster Orchestra and Yan Pascal Tortelier, 1989); and 11' 33" on Decca CD 421 527-2 Montreal Symphony Orchestra and Charles Dutoit, 1989
  10. ^ a b c Lockspeiser, p. 92
  11. ^ Lockspeiser, p. 90
  12. ^ Nicholas, Jeremy. "Dukas", Gramophone, July 2006, p. 74, accessed 18 March 2011
  13. ^ Chandos CD 8765 (1988)
  14. ^ a b Arnold, Denis and Richard Langham Smith. "Dukas, Paul (Abraham)." The Oxford Companion to Music. Ed. Alison Latham, Oxford Music Online, accessed 19 March 2011 (subscription required)
  15. ^ a b c d Walsh, p. 110
  16. ^ Taubman, Howard. "Toscanini in America", The Musical Quarterly, April 1947, pp. 178–187 (subscription required)
  17. ^ Lockspeiser, p. 91
  18. ^ Jefferson, p. 184
  19. ^ " Ariane et Barbe-Bleue", Evene, accessed 18 March 2011
  20. ^ a b Blakeman, Edward (1990). Notes to Chandos CD 208852, p. 5
  21. ^ "Francis Chagrin", Chester Novello, accessed 19 March 2011
  22. ^ Jones, p. 207
  23. ^ Index biographique des membres et associés de l'Académie royale de Belgique (1769-2005). p 104
  24. ^ Cimetière du Père Lachaise. Plot: Division 87 (columbarium), urn 4938

References edit

  • Jefferson, Alan (1979). Sir Thomas Beecham: A Centenary Tribute. London: Macdonald and Jane's. ISBN 0-354-04205-X.
  • Jones, J. Barrie (1909). Gabriel Fauré: A Life in Letters. London: B. T. Batsford. ISBN 0-7134-5468-7.
  • Lockspeiser, Edward (1957). "Paul Dukas". In Bacharach, A. L. (ed.). The Music Masters. Harmondsworth: Pelican Books. OCLC 655768838.
  • Walsh, Stephen (1997). "Paul Dukas". In Holden, Amanda (ed.). The Penguin Opera Guide. London: Penguin Books. ISBN 0-14-051385-X.
  • Watson, Laura (2019). Paul Dukas: Composer and Critic. Woodbridge: Boydell. ISBN 978-1-787445109.

External links edit

 
Wikimedia Commons has media related to Paul Dukas.

January 01, 1970
paul, dukas, paul, abraham, dukas, french, dykɑ, dyka, october, 1865, 1935, french, composer, critic, scholar, teacher, studious, retiring, personality, intensely, self, critical, having, abandoned, destroyed, many, compositions, best, known, work, orchestral,. Paul Abraham Dukas French dykɑ ː s or dyka 1 1 October 1865 17 May 1935 was a French composer critic scholar and teacher A studious man of retiring personality he was intensely self critical having abandoned and destroyed many of his compositions 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 Among these are the opera Ariane et Barbe bleue his Symphony in C and Piano Sonata in E flat minor the Variations Interlude and Finale on a Theme by Rameau for solo piano and a ballet La Peri Paul Dukas At a time when French musicians were divided into conservative and progressive factions Dukas adhered to neither but retained the admiration of both His compositions were influenced by composers including Beethoven Berlioz Franck d Indy and Debussy In tandem with his composing career Dukas worked as a music critic contributing regular reviews to at least five French journals Later in his life he was appointed professor of composition at the Conservatoire de Paris and the Ecole Normale de Musique his pupils included Maurice Durufle Olivier Messiaen Walter Piston Manuel Ponce Joaquin Rodrigo and Xian Xinghai Contents 1 Life and career 1 1 Early years 1 2 1890s 1 3 20th century works 1 4 Later years 2 List of works 2 1 Published by the composer 2 2 Early unpublished works 2 3 Destroyed and projected works 3 Notes 4 References 5 External linksLife and career editEarly years edit nbsp Dukas s teachers Georges Mathias top l Theodore Dubois top r and Ernest Guiraud bottom l and Dukas fellow student Claude Debussy Dukas was born in Paris the second son in a Jewish family of three children 2 3 His father Jules Dukas was a banker and his mother Eugenie was a capable pianist 3 4 When Dukas was five years old his mother died giving birth to her third child Marguerite Lucie 3 Dukas took piano lessons but showed no unusual musical talent until he was 14 when he began to compose while recovering from an illness 3 He entered the Conservatoire de Paris at the end of 1881 aged 16 and studied piano with Georges Mathias harmony with Theodore Dubois and composition with Ernest Guiraud 5 Among his fellow students was Claude Debussy with whom Dukas formed a close friendship 2 Two early overtures survive from this period Goetz de Berlichingen 1883 and Le Roi Lear 1883 The manuscript of the latter was rediscovered in the 1990s and the work was performed for the first time in 1995 3 Dukas won several prizes including the second place in the Conservatoire s most prestigious award the Prix de Rome for his cantata Velleda in 1888 5 Disappointed at his failure to win the top prize he left the Conservatoire in 1889 6 After compulsory military service he began a dual career as a composer and a music critic 5 1890s edit 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 3 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 5 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 Based on a tragedy by Corneille the work like many French works of the period shows the influence of Wagner 2 but is coherent and displays some individuality 5 nbsp Gazette des Beaux Arts for which Dukas wrote music criticism Although Dukas wrote a fair amount of music he was a perfectionist and destroyed many of his pieces out of dissatisfaction with them 4 Only a few of his compositions remain After Polyeucte he began writing an opera in 1892 He wrote his own libretto Horn et Riemenhild but he composed only one act realising too late that the work s developments were more literary than musical 7 The Symphony in C major was composed in 1895 96 when Dukas was in his early 30s It is dedicated to Paul Vidal and had its first performance in January 1896 under the direction of the dedicatee 5 In a study of Dukas published towards the end of the composer s life Irving Schwerke wrote The work is an opulent expression of modernism in classical form 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 5 Like Franck s only symphony Dukas s is in three movements rather than the conventional four Schwerke 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 The high spirited impetuous first movement Allegro non troppo vivace is intensely rhythmic Its logical structure strong thematic material polyphonic richness and virile instrumentation combine to create an exhilarating effect of life and pageant color 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 The robust last movement Allegro spiritoso so verdant in instrumentation brings the symphony to a vigorous close 5 The work received a mixed reception at its first performance Desire Emile Inghelbrecht later known as a conductor was a member of the orchestra at the premiere and wrote the work which nowadays seems to us so lucid aroused not only the protestations of the public but also those of the musicians of the orchestra 8 The symphony was better received when the Lamoureux Orchestra revived it in 1902 8 The symphony was followed by another orchestral work by far the best known of Dukas 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 9 based on Goethe s poem Der Zauberlehrling 2 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 5 The popularity of the piece became a matter of irritation to Dukas 6 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 3 20th century works edit nbsp Costume design for Dukas s La Peri by Leon Bakst 1922 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 Saens and Variations Interlude and Finale on a Theme by Rameau 1902 3 In Dukas s piano works critics have discerned the influence of Beethoven or Beethoven as he was interpreted to the French mind by Cesar Franck 10 Both works were premiered by Edouard Risler a celebrated pianist of the era 11 There are also two smaller works for piano solo The Sonata described by the critic Edward Lockspeiser as huge and somewhat recondite 10 did not enter the mainstream repertoire but it has been more recently championed by such pianists as Marc Andre Hamelin and Margaret Fingerhut 12 13 Lockspeiser describes the Rameau Variations as more developed and assured Dukas infuses the conventional form with a new and powerful spirit 10 In 1899 Dukas turned once again to operatic composition 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 The work is a setting of a libretto by Maurice Maeterlinck 14 The author had intended the libretto to be set by Grieg but in 1899 he offered it to Dukas 15 Dukas worked on it for seven years and it was produced at the Opera Comique in 1907 3 The opera has often been compared to Debussy s Pelleas et Melisande which was first performed while Dukas was writing Ariane et Barbe bleue Not only are both works settings of Maeterlinck but there are musical similarities Dukas even quotes from the Debussy work in his score 14 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 3 Nonetheless within a short time of its premiere Dukas s opera was produced in Vienna where it aroused much interest in Schoenberg s circle and in Frankfurt Milan and New York 3 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 16 and Sir Thomas Beecham who pronounced it one of the finest lyrical dramas of our time 17 and staged it at Covent Garden in 1937 18 Interest in it revived in the 1990s with productions in Paris Theatre du Chatelet 1990 and Hamburg Staatsoper 1997 3 and at the Opera Bastille in Paris in 2007 19 Dukas s last major work was the sumptuous oriental ballet La Peri 1912 Described by the composer as a poeme danse 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 Peri fairy 20 Because of the very quiet opening pages of the ballet score the composer added a brief Fanfare pour preceder La Peri which gave the typically noisy audiences of the day time to settle in their seats before the work proper began La Peri was written for the Russian French dancer Natalia Trouhanova who starred in the first performance at the Chatelet in 1912 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 3 In 1916 Dukas married Suzanne Pereyra 1883 1947 who was of Portuguese descent They had one child a daughter Adrienne Therese born in December 1919 3 Later years edit nbsp Paul Dukas and students of his composition class at the Paris Conservatoire 1929 Olivier Messiaen is on the extreme right Maurice Durufle stands next to him In the last years of his life Dukas became well known as a teacher of composition When Charles Marie Widor retired as professor of composition at the Paris Conservatoire in 1927 Dukas was appointed in his place 5 He also taught at the Ecole Normale de Musique in Paris His many students included Jehan Alain Elsa Barraine Yvonne Desportes Francis Chagrin Carlos Chavez Maurice Durufle Georges Hugon Jean Langlais Olivier Messiaen Walter Piston Manuel Ponce Joaquin Rodrigo David Van Vactor and Xian Xinghai 2 3 21 As a teacher he was conservative but always encouraging of talent telling one student It s obvious that you really love music Always remember that it should be written from the heart and not with the head 20 He said his method of teaching was to help young musicians to express themselves in accordance with their own natures Music necessarily has to express something it is also obliged to express somebody namely its composer 5 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 3 After La Peri Dukas completed no new large scale compositions although as with his contemporary Jean Sibelius there were frequent reports of major work in hand 15 After several years of silence in 1920 he produced a tribute to his friend Debussy in the form of La plainte au loin du faune for piano which was followed by Amours a setting of a sonnet by Pierre de Ronsard for voice and piano published in 1924 to mark the four hundredth anniversary of the poet s birth 4 Shortly before his death he had been working on a symphonic poem inspired by Shakespeare s The Tempest 4 a play of which he had made a French translation in 1918 with an operatic version in mind 3 In the last year of his life Dukas was elected to membership of the Academie des Beaux Arts 15 Though adhering to neither the progressive nor conservative factions among French musicians of the era Dukas had the friendship and respect of both 6 In 1920 Vincent d Indy published a study of Dukas s music 3 Debussy remained a lifelong friend though feeling that Dukas s music was not French enough 15 Saint Saens 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 5 Faure dedicated his Second Piano Quintet to Dukas in 1921 22 In 1920 he became a member of the Royal Academy of Science Letters and Fine Arts of Belgium 23 Dukas died in Paris in 1935 aged 69 He was cremated and his ashes were placed in the columbarium at Pere Lachaise Cemetery in Paris 24 List of works editPublished by the composer edit Polyeucte overture for orchestra 1891 Symphony in C 1895 96 The Sorcerer s Apprentice for orchestra 1897 Piano Sonata in E flat minor 1899 1900 Variations Interlude and Finale on a Theme by Rameau for piano c 1899 1902 Ariane et Barbe bleue opera 1899 1907 Villanelle for horn and piano 1906 Prelude elegiaque sur le nom de Haydn for piano 1909 Vocalise etude alla gitana for voice and piano 1909 La Peri ballet poeme danse 1911 later supplemented with Fanfare pour preceder La Peri 1912 La plainte au loin du faune for piano 1920 Amours sonnet for voice and piano 1924 Allegro for piano 1925 Modere for piano 1933 published posthumously in 1936 Early unpublished works edit Air de Clytemnestre for voice and small orchestra 1882 Goetz de Berlichingen overture for orchestra 1883 Le roi Lear for orchestra 1883 Chanson de Barberine for soprano and orchestra 1884 La fete des Myrthes for choir and orchestra 1884 L ondine et le pecheur for soprano and orchestra 1884 Endymion cantata for three solo voices and orchestra 1885 Introduction au poeme Les Caresses for piano 1885 La vision de Saul cantata for three solo voices and orchestra 1886 La fleur for choir and orchestra 1887 Fugue 1888 Hymne au soleil for choir and orchestra 1888 Velleda cantata for three solo voices and orchestra 1888 Semele cantata for three solo voices and orchestra 1889 Destroyed and projected works edit Horn et Riemenhild opera 1892 L arbre de science opera 1899 Le fil de parque symphonic poem c 1908 Le nouveau monde opera c 1908 1910 Le sang de Meduse ballet 1912 Symphony No 2 after 1912 Violin Sonata after 1912 La tempete opera c 1918 Variations choreographiques ballet 1930 An untitled orchestral work for Boston Symphonic Orchestra 1932 Notes edit Deneuville Thomas French Composers Names Paul Dukas I Care If You Listen Retrieved 12 June 2022 a b c d e Lockspeiser p 89 a b c d e f g h i j k l m n o p q r Schwartz Manuela and G W Hopkins Dukas Paul Grove Music Online Oxford Music Online accessed 19 March 2011 subscription required a b c d Havard de la Montagne Denis Paul Dukas Musica et Memoria French text accessed 18 March 2011 a b c d e f g h i j k l Schwerke Irving Paul Dukas A Brief Appreciation The Musical Quarterly July 1928 pp 403 412 accessed 17 March 2011 subscription required a b c Paul Dukas The Musical Times July 1935 pp 655 656 accessed 17 March 2011 subscription required Dukas quoted in Grove a b Langham Smith Richard 1994 Notes to Chandos CD 209225 Indicative timings 10 minutes 04 seconds on HMV LP 1432 NBC Symphony Orchestra and Arturo Toscanini 1957 10 44 on DG CD 419 617 2 Berlin Philharmonic Orchestra and James Levine 1987 11 31 on Chandos CD CHAN 241 32 Ulster Orchestra and Yan Pascal Tortelier 1989 and 11 33 on Decca CD 421 527 2 Montreal Symphony Orchestra and Charles Dutoit 1989 a b c Lockspeiser p 92 Lockspeiser p 90 Nicholas Jeremy Dukas Gramophone July 2006 p 74 accessed 18 March 2011 Chandos CD 8765 1988 a b Arnold Denis and Richard Langham Smith Dukas Paul Abraham The Oxford Companion to Music Ed Alison Latham Oxford Music Online accessed 19 March 2011 subscription required a b c d Walsh p 110 Taubman Howard Toscanini in America The Musical Quarterly April 1947 pp 178 187 subscription required Lockspeiser p 91 Jefferson p 184 Ariane et Barbe Bleue Evene accessed 18 March 2011 a b Blakeman Edward 1990 Notes to Chandos CD 208852 p 5 Francis Chagrin Chester Novello accessed 19 March 2011 Jones p 207 Index biographique des membres et associes de l Academie royale de Belgique 1769 2005 p 104 Cimetiere du Pere Lachaise Plot Division 87 columbarium urn 4938References editJefferson Alan 1979 Sir Thomas Beecham A Centenary Tribute London Macdonald and Jane s ISBN 0 354 04205 X Jones J Barrie 1909 Gabriel Faure A Life in Letters London B T Batsford ISBN 0 7134 5468 7 Lockspeiser Edward 1957 Paul Dukas In Bacharach A L ed The Music Masters Harmondsworth Pelican Books OCLC 655768838 Walsh Stephen 1997 Paul Dukas In Holden Amanda ed The Penguin Opera Guide London Penguin Books ISBN 0 14 051385 X Watson Laura 2019 Paul Dukas Composer and Critic Woodbridge Boydell ISBN 978 1 787445109 External links edit nbsp Wikimedia Commons has media related to Paul Dukas Free scores at the Mutopia Project Free scores by Paul Dukas at the International Music Score Library Project IMSLP Portals nbsp Classical music nbsp Opera nbsp France nbsp Biography nbsp Music Retrieved from https en wikipedia org w index php title Paul Dukas amp oldid 1219611640, wikipedia, wiki, book, books, library,

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