Lénore et autres ballades (French Edition)
It was one of France's first serial novels, and for sixteen months, Parisians rushed in droves to the newsstands each week for the latest installment. At long last, this lively translation makes the riveting drama of Sue's classic available to a new century of readers. Physiologie de l'homme de loi, par un homme de plume by Homme de plume 7 editions published between and in French and held by 34 WorldCat member libraries worldwide Extrait: Physiologie du garde national by Louis Huart 5 editions published between and in French and held by 26 WorldCat member libraries worldwide Extrait: Il existe des mortels qui aiment les haricots rouges, d'autres qui adorent la musique de M.
Le comic-almanach pour Le Conseiller Krespel [Rat Krespel, franz. Le Baron de Grogzwig [franz. Le Combat des rats et des grenouilles [Batrachomyomachia, franz. Sulpice-Paul Chevallier] Madame Acker. The work is based on an episode from the short story of the same name by the Russian author Maxim Gorki, in which a mortally wounded falcon tells a snake of the fascination of flying and of freedom. It is not difficult to project the image of the suffering falcon onto Poland's political situation in , and to see in it the severely wounded Polish nation, whose pride is nevertheless not to be broken, surrounded by snakes.
However, Fitelberg's Song of the Falcon does not belong to the category of the descriptive symphony, such as one knows, for example, from Richard Strauss' symphonic poems.
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Fitelberg also abstains from all manner of concrete or even enciphered patriotic statement such as can frequently be found in the contemporary Polish symphony. Fitelberg seems to have been inspired above all by the dialogical situation of the antagonistic figures in Gorki's story, which provides the thematic material for a formal construction obliged, if anything, to absolute music.
The Song of the Falcon captivates by means of the very sophisticated and original treatment of the orchestral forces. However, the piece gains its music-historical importance from the paradigmatic formulation of a standpoint important for Polish music after the turn of the century, a standpoint that marked a successful amalgamation — i. Fitelberg undoubtedly shows himself in this context and at this point of time to be the group's greatest compositional talent in the area of orchestral music. Eugeniusz Morawski [3] — was in a completely different respect one of the key figures in the development of Polish musical life in the first half of the twentieth century.
Like Fitelberg and Szymanowski, he numbered among the composers who came out of Noskowski's studio at the Warsaw Music Institute and, inspired by Richard Strauss, initially turned to the symphonic poem. As a member of a fighting unit of the Socialist Party of Poland, Morawski was incarcerated in November in the Warsaw Citadel for agitation against the Russian occupation and sentenced to four years in Siberia.
His father, himself a veteran of the uprising, sold the family's possessions and used the proceeds to ransom his son from the Russian authorities. The sentence of banishment was reduced to exile. In Paris he became friends with Paderewski and Artur Rubinstein who mentioned Morawski repeatedly in the first volume of his memoirs , and it was there that Morawski's most important works came into being in the s and 20s.
Trimolet, Louis Joseph 1812-1843
He experienced his breakthrough as a composer on 9 June with the premiere, which he conducted himself, of the symphonic poem Vae Victis in Paris' Salle Gaveau. Morawski quickly reaped recognition in his homeland, too. Don Quixote experienced its Polish first performance already in February of in Lvov, followed two months later by the first performance in Warsaw. In , he was commissioned with the reorganization of the Warsaw Conservatory, as a result of which he became entangled in the controversies concerning the ultimately unsuccessful attempt to establish, under Szymanowski's direction, a national academy of music superior in rank to the Conservatory.
Morawski raised the standards at the Conservatory to the highest possible level within a short time [4] and was confirmed in his position until the occupation of Poland by Nazi Germany in After the occupation, he was offered the continued direction of the Conservatory under German supervision, which he however declined, organizing instead the operation of an illegal underground college. Besides his function as college president, he held a series of important offices in Polish cultural life during the s.
He was, among other things, co-founder and chairman of the Fryderyk Chopin Institute, deputy chairman of the Polish Composers Society, chairman of the League for the Protection of the Polish Press, and chairman of the art commission of the Warsaw Opera.
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Moreover, he represented the Ministry of Culture on the jury of both the Wieniawski as well as the Chopin Competitions. Morawski did not need these posts for his own interests and advantage. Since he promoted neither the performance of his works nor their dissemination by means of publication, he had to experience how the better part of his oeuvre was irretrievably lost with the destruction of his apartment during the suppression of the Warsaw uprising in the late summer of The conflict with Szymanowski within the college's administration, but above all with the supporters of Szymanowski's cause, proved in the long run to be fatal for the reception of Morawski and his music, for in the second half of the twentieth century — in the course of Szymanowski's belated recognition as the central figure of Polish music — he was almost only perceived as Szymanowski's adversary.
The present recording is the first ever CD production of a work by Morawski. With the reproduction on the cover of this CD of one of the few oil paintings by Morawski that were not destroyed, the artist Morawski is also commemorated for the first time. Poles who are familiar with the subject point out that Morawski's instrumentation method has become very popular, [7] and so it might be a small comfort that his artistry lives on, in a manner of speaking, in the works of his pupils, among whom are some of the most important in post-war Polish history: Completely impoverished, Morawski died in as a result of health problems caused by the deprivations during the war.
The new, communistic government denied him a position in the rebuilding of Poland's musical life.
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Morawski was certainly not the right person to occasionally write a "song for the masses or a piece for wind band", as was suggested to him by the new chairman of the Polish Composers Association. Nevermore was composed in [9] in Paris.
The performance on 18 May in the Warsaw Philharmonie may have been the world premiere; possible earlier performances have as yet to be ascertained due to the very fragmentary documentation as a result of the war. In Poe's poem The Raven, which was published in and is considered not only one of the most important lyrical texts of nineteenth-century American literature, but in Baudelaire's translation also had a great influence on French modernism, the protagonist — the lyrical "I" — is haunted at night by an uncanny raven.
Trimolet, Louis Joseph [WorldCat Identities]
If the sublime aspect of fate comes to life in the image of the falcon, the raven embodies its nocturnal, fatalistic, and ghostly-menacing side — Morawski's setting leads to the depths of a distraught soul. Morawski composed the psychological protocol, so to speak, of his protagonist, and within the narrowest temporal space experienced with him chilling dread, depths of desperation, but also moments of bliss in the memories of his lady-love.
As a Polish composer living in France, Morawski was an advocate of the expressive, late-Romantic style of Mahler, Strauss, and Schoenberg, which helps to explain his isolation in the musical world of his time. Except for several direct correspondences with the text — for example, the onomatopoetic imitation of the knocking sound by means of striking the strings with the bow-stick — Morawski develops a musical representation that detaches itself from the poetic model.
The composition is made up of three large sections of which each is informed by new thematic material that is combined with the thematic material of the preceding sections in an increasingly complex polyphony of, to some extent, conflicting associations and feelings. Nevermore certainly numbers among the most idiosyncratic and expressive orchestral works not only in Poland, but also on an international level. One can scarcely resist the fascination of this music, its dark maelstrom. And one can only agree with Jerzy Kukla, who places Morawski alongside Szymanowski and Koffler in the rank of "forerunners of the then modern in Polish music".
Vae Victis, the prophetic title of one of Morawski's symphonic poems that were burned during the war, could just as well also be the motto of Simon Laks' life and work. Laks recorded the time in Auschwitz for posterity in his book Musique d'un autre monde, [11] an important literary account of the Holocaust and a major source on the role of music in the German concentration camps. In Germany, Laks was for a long time ignored completely both as a witness to the Shoah and as a composer.
In the countries in which the book finds and has found an audience, the musician disappeared into the shadows cast by the chronicler, all the more so since it has only been in the past few years that efforts have been undertaken to publish Laks' works. It is understandable and obvious that the experience of Auschwitz represented an absolute break in Laks' composing. In contrast to Adorno, who, firstly, thought it no longer possible to write poetry "after Auschwitz", and secondly — on the basis of music-aesthetic and music-historical considerations — believed the use of folkloristic materials in art music to be futile, for Laks, who saw with his own eyes the destruction of the Polish-Jewish culture, and himself escaped it only "like through a miracle", the compositional occupation with poetry written after Auschwitz and with folkloristic material of the Polish and Jewish traditions played a central role after the liberation.
Chopin [15] with references to Polish or Jewish culture and to the Shoah, but above all a series of art songs: It was written in during a phase of convalescence after a long hospital stay necessitated by the aftereffects of the deprivations experienced in the concentration camp. Within the composer's catalogue it represents an exception in as far as it was the only orchestral work composed without an immediate prospect of a performance: