Murray’s employs a house trio which plays entertaining dinner music in a wide variety of styles. The purpose of this thesis is to discuss the elements of … War threatened Paris, his marriage was unhappy, and pain from rectal cancer hobbled him. 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. A verse from Goethe’s original poem is printed below. Added to the pentatonic-based theme, the movement recalls the influence of Eastern timbres and harmonies that so influenced his earlier work. Reproduction Rights: This program note may be reproduced free of charge in concert programs with a credit to the author. Strauss published Metamorphosen for twenty-three strings, to fulfill a commission extended to him by Paul Sacher. Brunswick, ME 04011-8463, Admissions: grace@bowdoinfestival.org No one can really know himself, detach himself from his inner being; yet he must daily put to the test whenever he can clearly see from without—what he is and what he has, what he can do and what he cares for. ), or his sixth sonata, in which the composer intended to synthesize the previous five. 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. Sich von seinem Selbst-Ich trennen; Given the musical intensity of Metamorphosen, 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? Here it is played by the “Formosa Trio”, Pei-San Chiu (flute), Tze-Ying Wu (viola) and Joy Yeh (harp). Scholars’ attempts to answer these questions have largely been inconclusive; a long-prevailing notion that. 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. 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. Sonata for Flute, Viola, and Harp. 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. 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. Debussy in fact projected six such sonatas, composed for combinations of instruments, modeled not on the increasingly dense and protean sonata form in the wake of Beethoven, but rather on the sonatas of Couperin and Rameau, prized by the composer and his compatriots for their concision and elegance. © 2020 Los Angeles Philharmonic Association. However, a more likely source of inspiration for Strauss was the poem, Niemand wird sich selber kennen (No one will know himself). Play Your Part, support the LA Phil. Sonata for Flute, Viola, and Harp In 1915, Debussy thought he was finished. | 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. Claude Debussy - Sonata for Flute, Viola and Harp - YouTube Sonata for Flute, Viola & Harp (1915) by Claude Debussy “The musical genius of France is something like a dream in the senses…” The words and music of Claude Debussy certainly cast a long shadow over the music of the twentieth century. Of the three late sonatas, the first, for flute, viola, and harp, stands out as the most Debussian. Composed as World War II was drawing to a close in Germany, Metamorphosen is performed this evening in its original scoring for string septet. The first movement is not in sonata form, but features six themes whose repetitions are freely varied as the movement proceeds. served to memorialize the city of Munich, razed by Allied air raids in 1944, has been challenged by more recent research. A paraphrase of a beautiful Chassidic melody is incorporated in the second movement. For example, early 20th century American, Viennese, light classical, gypsy, and Broadway styles are all represented. 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? ), or his sixth sonata, in which the composer intended to synthesize the previous five. Your belief in the power of music to heal and transform makes our work possible. 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. Of the three late sonatas, the first, for flute, viola, and harp, stands out as the most Debussian. It was an especially painful period for Strauss, who was suffering from the deterioration of his health in old age. {{title}} The final decades of the nineteenth century produced a wave of nationalist fervor in France which touched artistic circles acutely. ${{ price.displayPrice }} 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. {{text}} Was nach außen endlich, klar, 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. 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 … Visita nuestra página web en español. efforts upon the auditory faculty.” Debussy died having only completed half of the six sonatas, depriving listeners of the chance to hear his planned fourth sonata for oboe, horn, and harpsichord (! Phone: 207-373-1400, Copyright © 2020 Bowdoin International Music Festival. Vocal & Instrumental Hymn Tune Arrangements. Was er ist und was er war, The work draws on many of the types of music played by the trio at Murray’s. Strauss had copied the lines into his sketchbooks and had begun to set it to music, but later incorporated those materials into Metamorphosen. Phone: 207-373-1400, Office: info@bowdoinfestival.org Sonata for Flute, Viola, and Harp (1915) Claude Debussy’s Sonata for Flute, Viola, and Harp dates from the last years of Debussy’s life. 6300 College Station The work draws on many of the types of music played by the trio at Murray’s. Work Title Sonata for Flute, Viola & Harp Alt ernative.

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