Claude Debussy Prélude à l'après-midi d'un faune Vídeos
- Estreno en 1894-12-22 (Prélude à l'après-midi d'un faune, Debussy)
- Publicado en 1894 (Prélude à l'après-midi d'un faune, Debussy)
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2024-04-26
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Debussy Mikko Franck Richard Strauss Orchestre Philharmonique Radio France Philharmonie Paris 1876 1893 2021
Sous la direction de Mikko Franck, l'Orchestre philharmonique de Radio France joue le Prélude à l'Après-midi d'un faune de Debussy. Extrait du concert donné le 1er octobre 2021 à la Philharmonie de Paris. #Debussy #MikkoFranck #OrchestrePhilarmoniquedeRadioFrance #ApresMidiD'unFaune #ConcertOctobre2021 Près de vingt années séparent la publication du poème de Mallarmé L’Après-midi d’un faune (1876) et le Prélude du même nom que composa Debussy. Vingt années pendant lesquelles le jeune musicien (il n’a que quatorze ans en 1876) se délecta en se récitant pour lui-même une poésie dont l’extrême et mystérieux raffinement ravissait sa sensibilité. C’est en 1893 que Debussy annonce qu’il a en préparation un triptyque intitulé Prélude, Interlude et Paraphrase finale pour L’Après-midi d’un faune. Il n’en écrira finalement que le premier volet, concevant là non pas un poème symphonique académiquement développé mais une pièce libre, qui ne ressemble en rien à ce que composaient un Saint-Saëns ou un Richard Strauss à la même époque, et dont la fantaisie formelle et le pouvoir d’évocation restent intacts. La flûte mollement indécise, la harpe qui lui répond d’une manière énigmatique, puis l’orchestre pris dans un souffle chaud, donnent la vie à une musique on ne peut plus ailée, on ne peut plus transparente comme un élytre d’insecte. Pour en savoir plus : (http•••)
Claude Debussy Bernard Haitink Pfleger Concertgebouw Orchestra Royal Concertgebouw Orchestra 1976
Sun's come out and things are getting psychedelic for Debussy's faun... Like, share, leave your comments and support us on PATREON! (http•••) Listen to the piece in full with IDAGIO, our favourite classical music streaming service (http•••) MUSIC CREDITS: Composer: Claude Debussy Work: Prelude a l'apres-midi d'un faune, L.86 Performer: Royal Concertgebouw Orchestra Conductor: Bernard Haitink Year: 1976 Label: Philips Catalogue No: 4164442 With thanks to our patron F. Pfleger for the German subtitles, and Emilia Strachevskaia.
Claude Debussy Schoenberg Stravinsky Messiaen Ravel Webern 1894
Discover more at (http•••) Transcript It’s an irony that Claude Debussy hated the word Impressionist – he’s perhaps seen today as the ultimate impressionist, a composer whose music floated away from traditional tonality, evoking summer afternoons, tempestuous seas and the shimmering light of the moon in broad musical brushstrokes. In his short 55 years, Debussy changed the face of classical music as much as, and perhaps arguably even more than that arch atonalist Schoenberg was doing over in Vienna. The important date for Debussy was 1894, the premiere in Paris of his orchestral work Prelude a l’apres-midi d’un faune, the afternoon of a faun. The 20th century was barely a dot on the horizon, Stravinsky’s Rite of Spring almost 20 years in the future. And yet, here was a work that was challenging all ideas of what music could do – in its description of a faun’s failed attempt to seduce a couple of nymphs, against a backdrop of a sultry backdrop of reeds and rushes, Debussy wasn’t simply telling a story – the orchestra became the story, the instruments inhabiting their characters in a way that simply hadn’t been done before. And those shimmering orchestral colours, constantly shifting and melting into one another were a revelation – the ‘awakening of modern music’ as one critic put it. Just eight years later, Debussy was confounding the musical world again with his opera Pelléas et Melisande, with its musical nods to Wagner, but it was anti-Wagner, too: devoid of any perceptible plot, characterisation and with a mysterious score that bends and weaves, escaping the pull of gravity. And Debussy’s experience of a Javanese gamelan orchestra coupled with his love of Japanese art gave his works deeper exotic flavours. Take the piano preludes, and the Cathedrale Engloutie, or Voiles, both with their chiming, modal chords. And just listen to La Mer, Debussy’s great evocation of the sea – with its use of eastern scales and sounds, even if it was written down the road in Eastbourne, of all places. Was Debussy the most important composer of the 20th century? The arguments are strong – composers such as Messiaen, Stravinsky, Ravel, Bartok and Webern all owed a huge debt to him. And his true greatness was perhaps that despite being a revolutionary, he was able to write music that was approachable and accessible to all audiences. The mark, you could say, of a musical genius.
Claude Debussy Webster Gauci Ancelin 2017
Claude Debussy: Prélude à l´Après midi d´un faune Arrangement für Trio von Michael Webster Matthieu Gauci-Ancelin: Flöte Sebastian Lehne: Klarinette Corinna Söller: Klavier www.corinna-soeller.com live-Mitschnitt 26.2.2017, Berlin
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