Lenfant du Mistral (French Edition)

The sea, which borders their country on two sides, has attracted many Frenchmen whether in the imagination Jules Verne, Claude Debussy or in actuality. Jean Cras was one of the latter group, serving as a career naval officer with particular distinction in the Adriatic campaign of World War I , while composing his entire life. But the bulk of his output consists of chamber music, which he considered to be his particular strength. The present Quintet is the first of his post-war chamber compositions, having been written in Under flowing arpeggios in the harp, first the flute then the cello sing a flowing theme that provides the basic material for much of the rest of the movement, with changes of tempo and texture producing elegant contrast.

It is the slower, more lyric approach that ends the movement. The third movement omits the harp for extended stretches, allowing the flute and strings to unfold a slow thematic idea in a kind of parallel motion, a yearning figure that recurs often, especially in the flute over changing textures. Slowly the movement builds to a climax, then—after a pause—closes with a soft coda. Many musical ideas are tossed back and forth, recalling earlier passages tossed into a lively final stew to bring the quintet to a lively close.

He frequently combines ideas that grew up in entirely different worlds into the same piece, making them talk to each other, so to speak, and delighting in the surprises their interaction evokes. When Schoenfield was commissioned by the St. Paul Chamber Orchestra to write a chamber piece, the result was Cafe Music. But by now it is one of his most frequently performed works. In the autumn of , Leonard Bernstein was looking for a job. He had graduated from the Curtis Institute in Philadelphia the preceding spring and had spent the summer assisting Serge Koussevitzky for the second time at Tanglewood.

But the fall brought slim pickings. He wanted to move to New York, but Koussevitzky urged him to stay in Boston, where. Bernstein opened a piano studio there close to Symphony Hall on Huntington Avenue, but was unable to attract students owing to the simple bad luck that he had signed the lease two days before the attack on Pearl Harbor. Bernstein himself was turned down by his draft board because of a history of asthma. Frustrated on all sides, facing the renewed urging of his father that he give up music and enter the family business, and with a lot of unexpected spare time on his hands, Bernstein composed.

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He had already begun a clarinet sonata, during a trip to Key West, Florida, in September. He returned to that and completed it the following February. This early work turned out to be one of his very few compositions designed as a purely abstract instrumental work, without a text and with a programmatic idea behind it. Its two movements call for tempi that go at middle-of-the-road speeds Grazioso and Andantino , though there the piano keeps up a lively pulsation behind the clarinet in the first movement, and the ending of the entire pieces is vigorous and energetic.

From early in his career, George Gershwin planned to succeed not only in the world of popular song, where he got his start, but also in classical forms like concerto and opera. Most European-trained composers, and American musicians like them, hardly regarded jazz as music at all. Gershwin was busily putting the finishing touches on a show called Sweet Little Devil , due to open on January The concert was overlong and looked as if it would be a flop. This was something new. The audience response at the end was rapturous.

Rhapsody in Blue has remained the most frequently performed of comparable contemporary scores, despite persistent criticisms of its loose structure. Even within a given piece, the musical style may range from twelve-tone to ragtime, a reflection of his openness to musical expression of all kinds. Maurice Ravel had written a violin sonata during his student days, in , but it remained unpublished until long after his death.

The years following the First World War had been difficult ones, owing to his constant insomnia and fear of failing creative power. Still, American jazz had been brought to Paris by some military musicians during and after the war, so Ravel would have had an opportunity to get to know the style.

On Easter of he completed the score of a brief, lighthearted ballet that was performed in Prague that November with the title Pokuseni svatouska hrnce Temptation of the Saintly Pot. The scenario told a slender tale in which the love between Pot and Lid is threatened by the seductive influence of the suave Twirling Stick.

Dishcloth flirts with Lid, who is challenged to a duel by Broom. The music for this charming trifle was successful enough in Prague as a ballet, but it proved to be a sensation when performed as a concert suite with the title La Revue de Cuisine The Kitchen Revue early in The bassoon, violin, and cello were incursions from the classical tradition, but they enter wholeheartedly into the spirit of things. At the time it was regarded as a noble failure when it closed after only 73 performances. Meanwhile, the original cast album became an underground classic, keeping the music alive, and showing that Bernstein had written in a rare profusion of musical styles, many of them witty parodies, in astonishing technical brilliance.

One of the most delicious of these was the great song in which Cunegonde laments her fate. In its opening section, in slow tempo, the singer mourns her lost hopes and the immorality of her present life. Presently, as she begins to adorn herself with the jewels that surround her, she looks on the bright side of things, in a wickedly delicious parody of the coloratura cabaletta. His use of the term has created a meaning for the word—a lyrical, vaguely melancholy piece of pronounced melodic character. The most striking feature of the B-flat minor nocturne, Opus 9, No.

The melody, gentle and pensive, sometimes streams sprays of notes—eleven against six early in the piece, twenty against six in the reprise, creating an air of utter freedom.

The story gradually transforms from the account of a crisis into a tale of music, friendship, and love. The main characters include Vice-president Iglesias, Mr. Hosokawa, a Japanese businessman, his translator, Gen, Roxanne Cass, the soprano who has been hired for the occasion, Simon Thibault, the French ambassador, the rebel generals, and two of the younger rebel soldiers: This string quartet uses four songs that Roxanne Cass might have sung in the concert she gives in the first chapter of the book.

Two songs are mentioned throughout the novel: I chose two other songs that an opera singer might choose at a small concert: Although I never present the songs exactly as they appear in the original, they are sometimes directly quoted and sometimes are used as more abstract source material to form all the music in the new quartet.

The rhythm is inspired by South American dance music. This movement tries to capture the character of people who remain calm in the face of trauma. The ostinato-like driving rhythm represents the carefully maintained anxiety of a roomful of people. Joachim is a hostage negotiator on vacation who is called in to help. The melody is divided amongst the instruments. The various instruments represent voices in a chorus—including Roxanne soprano , the priest, Vice-president Iglesias, and Mr.

Hosokawa—expressing the general sentiment of loss. Here, the harmony is derived from the famous Japanese folk song Sakura, and is combined with the rhythmic drive of South American dance music. The cello acts as the voice of Fyodorov, a Russian ambassador and romantic, and also Mr.

Violin 1 is Roxanne, and at center stage, but subtly is the viola, playing the part of Gen, the translator. Carmen is a young rebel woman. She is a naturally gifted linguist and her love of language brings her to Gen, who illicitly studies grammar with her in a closet, late at night, after all the others are sleeping. As the piece progresses, Carmen becomes more and more certain of her skills, until she excels in such an astonishing way that Gen is visibly impressed.

She is embarrassed and stops suddenly. Throughout the novel, Gen arranges meetings: Hosokawa and Roxanne Cass, between himself and Carmen, and between the hostage negotiator and the rebel generals. Later Cesar runs into the garden, and eventually, all the hostages are released into the garden for some fresh air.

Soon the rebels and hostages find themselves relaxing together: But the festivities soon come to their abrupt and inevitable conclusion. And it is in another garden in Italy, months later, that several of the characters meet again to celebrate a wedding. His pianistic talent had been recognized early: And even then he had begun to compose little piano pieces. His teacher Elsner hoped that his gifted pupil would one day compose the great Polish national opera, but it was not to be.

Eventually Elsner realized that the young man had such remarkable gifts that it was useless to impose an outside taste on them. In , at the age of nineteen, Chopin went to Vienna and attracted a great deal of attention with his overtly Polish works.

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He became utterly enamored of the Italian opera in his day, especially the work of Bellini, whose ravishing bel canto melodic lines inspired Chopin greatly, especially in his later years. Though Chopin wrote the concerto with a full orchestral accompaniment, he was not then, or ever, a complete master of the orchestra. And just as Mozart arranged some of his early concertos with chamber-sized accompaniments of strings to allow them to played in private homes, the young Chopin very likely did the same for occasions when he could not afford or accommodate a full orchestra.

To make such performances possible today, the pianist Kevin Kenner, top prize winner of the 12 th International Chopin Competition made the arrangement of the orchestra part heard here. The finale is related to that Polish country dance, the mazurka, that Chopin made so wonderfully his own. The traditional mazurka was in triple time accompanied by strong accents on the second or third beat when danced, the accents are reinforced by a strong tap of the heel. This movement is a rondo with several sharply contrasting themes in mazurka style, closing with a dramatic coda.

Though his life line was torn asunder at the tragically early age of thirty-one, Franz Schubert left us an astonishing wealth of extraordinary music, filled with entrancing melody that he seemed to be able to draw instantly from sources all around in, and presented in harmonies that made his music deeply expressive—and that approached the developments of later romantic composers decades ahead of them.

For most of his life he was known only to a small circle of congenial friends, making music mostly in private homes, less frequently in public spaces. He composed large works like operas and symphonies, but the large part of his output consisted of hundreds of songs them in the year that he turned 18—one quarter of the total! And given that fact that almost everyone in his family played at least one musical instrument, Schubert wrote chamber music for the family circle from his early teens, and took part in performing it.

As a teenager—between his fourteenth and nineteenth years, to be precise—Schubert composed no fewer than seventeen string quartets, some of which are lost or incomplete. Still there are ten complete works from this early time. These were intended for use within the family circle, where string quartet playing was a favorite pastime, the composer himself taking the viola part. Schubert left many works unfinished; he seems to have felt that if the composition as a whole was not going to his satisfaction, it was easier to begin entirely afresh than to try to salvage what he had.

It is noteworthy, too, that the great majority of his unfinished works like the present Allegro assai are in minor keys. We may reasonably speculate that he was concerned with the proper way of ending a quartet or symphony or piano sonata that began in the minor. He had to work through to some sense of victory after struggle.

Schubert apparently did not see his way clear to writing a satisfactory finale in the present instance, and seems simply to have dropped the piece. And unfortunately he never even finished the slow movement, which had started out as an incredibly rich and tragic Andante.

But what he left—the completed first movement—is already light years ahead of anything else he had written for the medium. The character of the music is uncanny, suspenseful an effect created partly by the almost constant use of tremolo, either in the themes themselves or the accompaniment. The development grows largely out of the tremolo figure of the first theme. The recapitulation is quite extraordinary.

We would expect to have the first theme again in C minor , then the secondary material, transposed to end in the tonic key, which would make it C major. But Schubert is clearly not ready to yield to the major so early in the composition and this may have been at the heart of his compositional difficulty. Had Schubert seen his way clear to finishing a work built from such a premise, which was both striking and unusual for , we can scarcely doubt that the result would have been epoch-making. Sonata in A minor, D.

One Vinzenz Schuster, who wrote an instruction manual for the instrument, asked Schubert to compose a piece for it. He responded late in with the lavishly melodious sonata in A minor for arpeggione and piano. Schubert himself, though, wrote the manuscript quickly and carelessly, as if he suspected that few would ever hear the work he thus tossed off so prodigally. It is not rare to hear performances on instruments ranging from the top of the orchestral staff flute to the bottom double bass , though it is most frequently taken on the viola or the cello, the one lying just above the range of the original instrument, the other just below.

Still, it remains the only truly great composition for a string quintet with two cellos; it outclasses Boccherini by a long shot and remained so overwhelming an example that even those composers who might have used it as a model gave up in the end and wrote their quintets with a second viola. The first three chords are a good example: To an earlier composer, the diminished chord would have demanded harmonic movement, its tensions would have insisted on resolution.

Here, the chord simply is , a characteristic sound in its own right, possibly suggesting foreboding, or immensity, or mysticism—but not harmonic movement. Soon these three chords become a kind of motto embedded in the principal theme. Conventional harmonic practice decreed that the secondary key must be G if the tonic is C.

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