In 1940, five years after his death, Dukas and The Sorcerer's Apprentice became enshrined in American popular culture through the use of the work in the movie Fantasia. In tandem with his composing career, Dukas worked as a music critic, contributing regular reviews to at least five French journals. (ed.). "[10], In 1899 Dukas turned once again to operatic composition. 34 "Valse brilliante"Sergio Calligaris, Berlioz, H.Symphonie FantastiqueConcertgebouw Orchestra, Mozart, W.A.Quartet for Strings No. He was cremated and his ashes were placed in the columbarium at Père Lachaise Cemetery in Paris. World class entertainment website handling Ticket, CD, DVD, Blu-ray (BD), Games and Goods! He has been consider a glittering ornament of French modern music, and his name has been linked with the revolt of contemporary composer against artistic formalism. A studious man, of retiring personality, he was intensely self-critical, and he abandoned and destroyed [2] 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,[15] and Sir Thomas Beecham, who pronounced it "one of the finest lyrical dramas of our time,"[16] and staged it at Covent Garden in 1937. In 1916, Dukas married Suzanne Pereyra (1883-1947), who was of Portuguese descent. Paul Dukas (composer 1865-1935) - Play or download MIDI files from Classical Archives (classicalarchives.com), the largest and best organized classical music site on the web. At a time when French musicians were divided into conservative and progressive factions, Dukas adhered to neither but retained the admiration of both. Paul Abraham Dukas was born on October 1, 1865 into a Jewish family in Paris, France. Link to Wikipedia biography Paul Dukas’s was a noted French music composer whose works comprised of the overlapping elements of Romantic and Modern periods. Paul Dukas, (born Oct. 1, 1865, Paris, Fr.—died May 17, 1935, Paris), French composer whose fame rests on a single orchestral work, the dazzling, ingenious L’Apprenti sorcier … 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".[6]. [4], Although Dukas wrote a fair amount of music, he was a perfectionist and destroyed many of his pieces out of dissatisfaction with them. [1][2] His father, Jules Dukas, was a banker, and his mother, Eugénie, was a capable pianist. [2], 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. In his final decades, Dukas achieved renown as a teacher and his students included Messiaen and Duruflé. Dukas' music straddled the Romantic and modern periods, and he remained true to classical structures well into the 20th century. When Charles-Marie Widor retired as professor of composition at the Paris Conservatoire in 1927, Dukas was appointed in his place. Dukas completed his ballet La Péri in 1912, but his later output was blighted by an increasingly self-critical outlook, which caused him to abandon and destroy many works. [18], Dukas's last major work was the sumptuous oriental ballet La Péri (1912). His father a banker and his mother a pianist. Paul Dukas (1 October 1865 – 17 May 1935) was a French composer of classical music. [2] They had one child, a daughter Adrienne-Thérèse, born in December 1919, who died on 25 March 1958, in a plane crash near Miami. See the, Langham Smith, Richard (1994). He won the Academy Award for Best Actor, and the first Golden Globe Award for Best Actor – Motion Picture Drama for his performance in the film Watch on the Rhine (1943), reprising the role he created on the Broadway stage. Always remember that it should be written from the heart and not with the head. [4] He also taught at the École Normale de Musique in Paris. [2] The opera has often been compared to Debussy's Pelléas et Mélisande which was first performed while Dukas was writing Ariane et Barbe-bleue. A studious man, of retiring personality, he was intensely self-critical, and he abandoned and destroyed many of his compositions. Dukas’s mother, who was musical and played the piano, died when he was five years old. Biography Paul Dukas (October 1865, Paris - 18 May 1935, Paris) was a French composer. [2] None the less, 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. Artist Biography by Bruce Eder Paul Dukas ' music, like his life, straddled the Romantic and modern periods (and encompassed a still wider range of influences), and he remained true to classical structures well into the twentieth century. Life and career Dukas was born in Paris to a Jewish father and Catholic mother. He died 5/17/1935, Paris. Multiple payment His father was a Jewish and worked as a banker. The same year, he began the first of several attempts to compose an opera, but he was to see no success in that genre for years to come; rather, he wrote his two most well-known instrumental works: the Symphony in C (1896) and The Sorcerer's Apprentice (1897). He was not only a composer, but also a scholar and teacher. Having studied piano, theory, and composition at the Paris Conservatory, Dukas was a decided perfectionist who allowed only a few of his many creations to … [2] 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. Dukas was so critical and fastidious that he destroyed a number of his compositions and as he neared death, destroyed all his unfinished works. [9] There are also two smaller works for piano solo. He died 5/17/1935, Paris. [19] 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. The Symphony in C major was composed in 1895–96, when Dukas was in his early 30s. Dukas was born in Paris, the second son in a Jewish family of three children. The work is a setting of a libretto by Maurice Maeterlinck. "[4] Like Franck's only symphony, Dukas's is in three movements rather than the conventional four. This book appraises the contribution of Paul Dukas (1865–1935) to a wide variety of French musical practices. [2] 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. Walsh, Stephen (1997). [2] Dukas took piano lessons, but showed no unusual musical talent until he was 14 when he began to compose while recovering from an illness. "[4] 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". Paul Dukas was born in Paris to a Jewish father and Catholic mother. [11][12] Lockspeiser describes the Rameau Variations as more developed and assured ... Dukas infuses the conventional form with a new and powerful spirit. [4] 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. [14] Though adhering to neither the progressive or conservative factions among French musicians of the era, Dukas had the friendship and respect of both. He went to the Conservatoire de Paris for music, learning with such notables as Georges Mathias, Ernest Guiraud, and Théodore Dubois. La Péri was written for the Russian-French dancer Natalia Trouhanova, who starred in the first performance at the Châtelet in 1912. [1] 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. Lockspeiser, Edward (1957). [2], In the last year of his life Dukas was elected to membership of the Académie des Beaux-Arts. Dukas was highly self-critic, and had attempted various varieties of music in his career. 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. [3] Shortly before his death he had been working on a symphonic poem inspired by Shakespeare's The Tempest,[3] a play of which he had made a French translation in 1918 with an operatic version in mind. [13] 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. Following his service in the army, he returned to civilian life as a critic and composer, enjoying his first success in the latter capacity in 1892 with the premiere of his overture Polyeucte. The high-spirited, impetuous first movement, Allegro non troppo vivace is intensely rhythmic. He studied music at the Paris Conservatoire, where his teachers were Theodore Dubois, César Franck, and 'Ernest Guiraud'. [7], The symphony was followed by another orchestral work, by far the best known of Dukas's 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)[8] based on Goethe's poem "Der Zauberlehrling". Paul Dukas (October 1, 1865 – May 17, 1935) was a French composer of classical music. 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.[2]. "[2], 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). Died. Not only are both works settings of Maeterlinck, but there are musical similarities; Dukas even quotes from the Debussy work in his score. After completing his studies he found work as an orchestrator and critic. Biography Paul Dukas' music, like his life, straddled the Romantic and modern periods (and encompassed a still wider range of influences), and he remained true to classical structures well into the twentieth century. New release items and information of Dukas, Paul (1865-1935)! [14] Dukas worked on it for seven years and it was produced at the Opéra-Comique in 1907. As a composer, critic, artistic collaborator and teacher, Dukas was central to the fin de siècle and early twentieth-century Paris musical scene (and more broadly to the French scene). Based on a tragedy by Corneille, the work, like many French works of the period, shows the influence of Wagner,[1] but is coherent and displays some individuality. [5] After compulsory military service he began a dual career as a composer and a music critic. Unlike many other composers he wasn’t a child prodigy and didn’t show any He studied under Théodore Dubois and Ernest Guiraud at the Conservatoire de Paris, where he became friends with the composer Claude Debussy. [22], Bach, J.S.Cello Suite No. 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. "Paul Dukas". After Polyeucte, he began writing an opera in 1892. 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