Paul Abraham Dukas (French: [dykas] ; 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, and he 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 .
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, Manuel Ponce, and Joaquín Rodrigo.
Dukas was born in Paris, the second son in a Jewish family of three children.His father, Jules Dukas, was a banker, and his mother, Eugénie, was a capable pianist. When Dukas was five years old, his mother died giving birth to her third child, Marguerite-Lucie. Dukas took piano lessons, but showed no unusual musical talent until he was 14 when he began to compose while recovering from an illness. 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. Among his fellow students was Claude Debussy, with whom Dukas formed a close friendship. 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.
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.Disappointed at his failure to win the top prize, he left the Conservatoire in 1889. After compulsory military service he began a dual career as a composer and a music critic.
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.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. 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, but is coherent and displays some individuality.
Although Dukas wrote a fair amount of music, he was a perfectionist and destroyed many of his pieces out of dissatisfaction with them.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".
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.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." 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.
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."The symphony was better received when the Lamoureux Orchestra revived it in 1902.
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)based on Goethe's poem "Der Zauberlehrling". 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. The popularity of the piece became a matter of irritation to Dukas. 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."
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).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". Both works were premiered by Édouard Risler, a celebrated pianist of the era. There are also two smaller works for piano solo. The Sonata, described by the critic Edward Lockspeiser as "huge and somewhat recondite", did not enter the mainstream repertoire, but it has been more recently championed by such pianists as Marc-André Hamelin and Margaret Fingerhut. Lockspeiser describes the Rameau Variations as more developed and assured ... Dukas infuses the conventional form with a new and powerful spirit."
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.The author had intended the libretto to be set by Grieg but in 1899 he offered it to Dukas. Dukas worked on it for seven years and it was produced at the Opéra-Comique in 1907. 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. 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. 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. 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, and Sir Thomas Beecham, who pronounced it "one of the finest lyrical dramas of our time," and staged it at Covent Garden in 1937. Interest in it revived in the 1990s, with productions in Paris (Théâtre du Châtelet, 1990) and Hamburg (Staatsoper, 1997), and at the Opéra Bastille in Paris in 2007.
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).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.
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.
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.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, Manuel Ponce, Joaquín Rodrigo, David Van Vactor and Xian Xinghai. 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." 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." 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".
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.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. Shortly before his death he had been working on a symphonic poem inspired by Shakespeare's The Tempest , a play of which he had made a French translation in 1918 with an operatic version in mind.
In the last year of his life Dukas was elected to membership of the Académie des Beaux-Arts.Though adhering to neither the progressive nor conservative factions among French musicians of the era, Dukas had the friendship and respect of both. In 1920, Vincent d'Indy published a study of Dukas's music; Debussy remained a lifelong friend, though feeling that Dukas's music was not French enough; 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; Fauré dedicated his Second Piano Quintet to Dukas in 1921.
In 1920, he became a member of the Royal Academy of Science, Letters and Fine Arts of Belgium.
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.
(Achille) Claude Debussy was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.
François-Clément Théodore Dubois was a French composer, organist and music teacher.
Amédée-Ernest Chausson was a French Romantic composer who died just as his career was beginning to flourish.
Albert Charles Paul Marie Roussel was a French composer. He spent seven years as a midshipman, turned to music as an adult, and became one of the most prominent French composers of the interwar period. His early works were strongly influenced by the impressionism of Debussy and Ravel, while he later turned toward neoclassicism.
The Théâtre des Champs-Élysées is an entertainment venue standing at 15 avenue Montaigne in Paris. It is situated near Avenue des Champs-Élysées, from which it takes its name. Its eponymous main hall may seat up to 1,905 people, while the smaller Comédie and Studio des Champs-Élysées above the latter may seat 601 and 230 people respectively.
La mer, trois esquisses symphoniques pour orchestre, or simply La mer, L. 109, CD. 111, is an orchestral composition by the French composer Claude Debussy.
La Péri is a 1912 ballet in one act by French composer Paul Dukas, originally choreographed by Ivan Clustine and first performed in Paris, about Iskender searching for immortality and his encounter with a mythological Peri.
Armin Jordan was a Swiss conductor known for his interpretations of French music, Mozart and Wagner.
Bertrand de Billy is a French conductor.
Manuel Rosenthal was a French composer and conductor who held leading positions with musical organizations in France and America. He was friends with many contemporary composers, and despite a considerable list of compositions is mostly remembered for having orchestrated the popular ballet score Gaîté Parisienne from piano scores of Offenbach operettas, and for his recordings as a conductor.
Ariane et Barbe-bleue is an opera in three acts by Paul Dukas. The French libretto is adapted from the symbolist play of the same name by Maurice Maeterlinck, itself loosely based on the French literary tale La Barbe bleue by Charles Perrault.
Piero Coppola was an Italian conductor, pianist and composer.
Tony Louis Alexandre Aubin was a French composer.
The Pasdeloup Orchestra is the oldest symphony orchestra in France.
The Sorcerer's Apprentice is a symphonic poem by the French composer Paul Dukas, completed in 1897. Subtitled "Scherzo after a ballad by Goethe", the piece was based on Johann Wolfgang von Goethe's 1797 poem of the same name. By far the most performed and recorded of Dukas's works, its notable appearance in the Walt Disney 1940 animated film Fantasia has led to the piece becoming widely known to audiences outside the classical concert hall.
Jean Hubeau was a French pianist, composer and pedagogue known especially for his recordings of Gabriel Fauré, Robert Schumann and Paul Dukas, which are recognized as benchmark versions.
Elsa Jacqueline Barraine was a composer of French music in the time after the neoclassicist movement of Les Six, Ravel, and Stravinsky. Despite being considered “one of the outstanding French composers of the mid-20th century,” Barraine's music is seldom performed today. She won the Prix de Rome in 1929 for La vierge guerrière, a sacred trilogy named for Joan of Arc, and was the fourth woman ever to receive that prestigious award.
The Variations, Interlude and Finale on a Theme by Rameau were composed by Paul Dukas between 1899 and 1902. The work was first performed in Paris in 1903.
The Victoires de la musique classique are an annual French classical music award event founded in 1986. The awards are the classical equivalent of the popular music awards Victoires de la Musique and the Victoires du Jazz. Most of the awards are for actual performers, orchestras, composers, etc. as opposed to the Diapason d'Or given to recordings, though there is an Enregistrement français de musique classique de l'année.
La Damoiselle élue, L. 62, is a cantata for soprano soloist, 2-part children's choir, 2-part female (contralto) choir, and orchestra, composed by Claude Debussy in 1887–1888 based on a text by Dante Gabriel Rossetti. It premiered in Paris in 1893.
|Wikimedia Commons has media related to Paul Dukas .|