著名法国作曲家 Paul Dukas 保罗杜卡斯 1865-1935

洛杉矶

著名法国作曲家
Paul Dukas 保罗杜卡斯  1865-1935





保罗杜卡斯 Paul Dukas 法国作曲家和音乐评论家。1882年进入巴黎音乐学院学习，1888年毕业时以一部大合唱获得罗马第二奖。后在学院任教，还在音乐师范学校教授作曲，同时为多家报纸撰写音乐评论。由于他自我要求严格，著述不多，也很少流传下来。1920年后发表音乐作品甚少，死前将未发表作品全部毁掉。创作上受贝多芬、瓦格纳、弗兰克和德彪西的影响，以配器色彩丰富见称。主要作品有交响诗《魔法师的弟子》、抒情童话歌剧《阿丽安与蓝胡子》，以及舞剧《仙女》等。此外，尚撰有不少音乐评论。杜卡斯的学生有，奥利维埃·梅西安，西班牙作曲家罗德里戈，冼星海等。
1897年以交响谐谑曲《魔法师的弟子》(L'Apprenti Sorcier) (或称魔法师的门徒) 一举成名。最佳作当推三幕歌剧《阿里安娜与蓝胡子》(Ariane et Barbe-Bleu)(巴黎，1907）和德彪西的《佩利亚斯》(Pelleas)一样取材于梅特林克的喜剧，并且和德彪西一样发现剧中的寓意和感情深度，并将之浅显明白地表现在音乐中。另作芭蕾舞剧《仙女》(La P'eri)(1912)和钢琴作品《拉莫主题变奏曲》(1903)，据说这是出自重要法国作曲家手笔的第一首钢琴奏鸣曲。另有《绛e小调奏鸣曲》(1900)。杜卡斯的主要作品：为莎士比亚同名戏剧谱曲的管弦乐《李尔王》(Le roi Lear，1883年)、歌德的同名现实主义历史剧谱曲的管弦乐序曲《葛兹·冯·伯利欣根》(Goetz de Berlichingen，1883)、　：管弦乐序曲《波利厄特尔》(Polyeucte，1891)、《C大调交响曲》(1896)、交响谐谑曲《魔法师的弟子》(L’Aprenti Sorcier，1897)、歌剧《阿里安娜与蓝胡子》(Ariane et Barbe-bleue，1907)、芭蕾舞剧（管弦乐组曲）《仙女》(La Peri，1912)、钢琴曲《远方牧人的呻吟…》(La plainte, au loin, du faune…, 1920)等。

Dukas - L'Apprenti sorcier, La Peri, Symphony - NRPO, Fournet (1993) [FLAC] (Denon CO-75284)
078887de15424a441aacb39b9eb5f69724dfe5ac
Dukas, Decaux - Piano Music (APE)
086655799fe0a28511acc5258688e160733daa4e
Dukas. La Peri, Symphonie en ut majeur {Jordan) (FLAC)
https://pan.baidu.com/s/1eSbpLia#list/path=%2F
Guido Cantelli conducts Dukas, Ravel, Falla, Rossini, Casella (FLAC)
https://pan.baidu.com/s/1dF7w#list/path=%2F
Lefebure plays Faure & Dukas (FLAC)
https://pan.baidu.com/s/1lSUXC#list/path=%2F

nexklee

再来点Paul Dukas的资料

Paul Dukas
FRENCH COMPOSER

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 (1897; The Sorcerer’s Apprentice).

Dukas studied at the Paris Conservatory and, after winning a second Grand Prix de Rome with his cantata Velléda (1888), established his position among the younger French composers with the overture, first performed in 1892, to Pierre Corneille’s Polyeucte and with the Symphony in C Major (1896). The rest of his output (never large, owing to his own strict censorship of his works) was mainly dramatic and program music and compositions for piano. Dukas, a master of orchestration, was from 1910 to 1912 professor of the orchestral class at the Paris Conservatory, and from 1927 until his death he was professor of composition there. He also contributed musical criticism to several Paris papers, and his collected writings, Les Écrits de Paul Dukas sur la musique (1948), include some of the best essays ever published on Jean-Philippe Rameau, Christoph Gluck, and Hector Berlioz.

Dukas’s L’Apprenti sorcier (based on J.W. von Goethe’s “Zauberlehrling”) was a piece of descriptive music written at the same time and in much the same style as Richard Strauss’s Till Eulenspiegel. Yet Dukas’s musicianship was of a considerably wider range than this brilliant period piece suggests. His Sonate (1901) is one of the last great works for piano that prolong the tradition of Ludwig van Beethoven, Robert Schumann, and Franz Liszt; his Variations, interlude et final pour piano sur un thème de Rameau (1903) represent an elegant translation into French musical idiom and style of Beethoven’s Diabelli Variations, Opus 120. The ballet La Péri (1912), on the other hand, displays mastery of Impressionist scoring; and, in his opera Ariane et Barbe-Bleue (1907), on the play of Maurice Maeterlinck, the atmosphere and musical texture make up for the lack of dramatic impact.

After 1912 Dukas ceased publishing his compositions—except for a piano piece written in memory of his admirer Claude Debussy, the evocative La Plainte au loin du faune (1920), and a song setting, the charming “Sonnet de Ronsard” (1924). A few weeks before his death, he destroyed several of his musical manuscripts. Dukas collaborated with the Paris publishing firm of Durand in preparing modern editions of some of the works of Jean-Philippe Rameau, François Couperin, and Domenico Scarlatti and of the piano works of Beethoven.

leecher

回的人少，我来小顶一下