dijous, 17 de desembre de 2015

JAQUES-DALCROZE, Émile (1865-1950) - Violin Concerto No.1 (1902)

Giovanni Giacometti - Bühende wiesen bei maloja (Valle fiorita)
Obra de Giovanni Giacometti (1868-1933), pintor suís (1)



- Recordatori d'Émile Jaques-Dalcroze -
En el marc de la celebració del seu 150è aniversari de naixement



Parlem de Pintura...

Giovanni Giacometti (Borgonovo di Stampa, 7 de març de 1868 - Glion, 25 de juny de 1933) va ser un pintor suís, pare d'Alberto Giacometti, Fill d'Alberto i Caterina Ottilia Santi, des de petit va mostrar bones aptituds per al dibuix. És per això que el 1886, amb 18 anys, va decidir traslladar-se a Munich per a iniciar els seus estudis a l'Escola d'Arts Decoratives. És allà on va conèixer a qui seria el seu gran amic, el pintor fauvista Cuno Amiet. Posteriorment, i després de conèixer l'impressionisme, va viatjar a França, on va continuar la seva formació a l'Acadèmia Julian per dos anys. El 1891, va tornar a Stampa si bé les seves inquietuds el van motivar a iniciar nous viatges. Va visitar Itàlia si bé els seus primers èxits no van arribar fins el 1900, quan va exposar a Zuric amb Amiet i Holder, sent aquesta la seva etapa de major plenitud, tant en el camp personal com en l'artístic. Entre el 1901 i el 1912 va participar en la Kunstausstellung de Munich i en la Kunstlerhaus de Zurich, així com en una exposició dels pintors del grup Die Brücke a Dresden. En aquests anys va tenir com a deixebles, entre altres, al pintor argentí Raúl Mazza. Després de la Primera Guerra Mundial la seva carrera artística va decaure, morint en l'oblit el juny de 1933.




Parlem de Música...

Émile Jaques-Dalcroze (Wien, 6 de juliol de 1865 - Genève, 1 de juliol de 1950) va ser un pedagog i un compositor suís. Va estudiar música al Conservatori de Ginebra on va rebre, a més, un premi en música i poesia. Poc després va viatjar a París, on va estudiar amb Fauré, Delibes i Lussy, i a Viena on va estudiar amb Bruckner i Fuchs. El 1892 es va convertir en professor d'harmonia del Conservatori de Ginebra on va reemplaçar el mètode tradicional per una nova metodologia més moderna i complexa i enfocada amb la idea de la connexió del ritme amb els moviments corporals. Per aquest motiu va ser reconegut oficialment el 1905 per l'Associació de Músics de Suïssa. El 1910 va rebre una invitació de Wolf Dohrn per fundar una escola de música propera a Dresden. El 1914 va tornar a Suïssa on va fundar l'Institut Jaques-Dalcroze a Ginebra. Va seguir treballant a la ciutat suïssa la resta de la seva vida morint el juliol de 1950.

OBRA:

Vocal secular:

Dramatic:
Riquet à la houppe (operetta, R. Yve-Plessis) (1883);
Par les bois, op.6 (P. Monnier) (1888);
La veillée (suite lyrique, J. Thoiry) (1893);
Janie (idylle musicale, 3, P. Godet, after G. de Peyrebrune) (1894);
Printemps (kermesse, E. Jaques-Dalcroze) (1895);
Sancho Pança (comédie lyrique, 4, Yve-Plessis) (1896);
Le jeu du feuillu (poème printanier, Jaques-Dalcroze) (1900);
Festival vaudois (Jaques-Dalcroze) (1903);
Le bonhomme jadis (opéra comique, Franc-Nohain, after H. Murger) (1905)
Les jumeaux de Bergame (opéra comique, 2, M. Léna, after Florian) (1908);
Fête de juin (spectacle patriotique, 4, D. Baud-Bovy, A. Malche) (1914);
Les belles vacances (cant., P. Girard) (1920);
La fête de la jeunesse et de la joie (J. Chenevière, Girard) (1923);
Les premiers souvenirs (poème en images, Chenevière) (1924);
Le petit roi qui pleure (féerie enfantine, 3, Jaques-Dalcroze) (1932);
Le savetier et le financier (saynète, M. Grange) (1933);
Le joli jeu des saisons (revue, Jaques-Dalcroze) (1934);
Ces bonnes dames (saynète enfantine, Grange) (1935)
Many unpubd works

Instrumental:

Orch:
Nocturne, op.49, vn, orch;
Vn Conc. no.1, op.50 (1902);
Poème (Vn Conc. no.2) (1911)

Chbr:
Str Qt, e (1899);
Novellettes et Caprices, pf, vn, vc (1920);
Rythmes de danse, vn, str qt or pf (1922)
Many other works incl. extracts and arrs. from dramatic pieces, choral works, c600 songs incl. action songs, chbr, inst and pf music

Literatura:

Le coeur chante: sensations d'un musicien (Geneva, 1900)
La réforme de l'enseignement musical à l'école’, Congrès de l'enseignement musical: Soleure 1905
Méthode Jaques-Dalcroze, pt i: Gymnastique rythmique (Paris, 1906; suppl., La respiration et l'innervation musculaire planches anatomiques, 1906); replaced by La rythmique (Lausanne, 1916–17; Eng. trans., 1920); pt ii: Etude de la portée musicale (Paris, 1907); pt iii: Les gammes et les tonalités, le phrasé et les nuances (Paris, 1906–7); pt vi: Exercices de plastique animée (Paris, 1917) [pts iv–v unpubd]
ed. P. Boepple: Der Rhythmus als Erziehungsmittel für das Leben und die Kunst: sechs Vorträge zur Begründung seiner Methode der rhythmischen Gymnastik (Basle, 1907)
Introduction à l'étude de l'harmonie (Geneva, n.d.)
La rythme, la musique et l'éducation (Paris and Lausanne, 1920, 2/1965; Eng. trans., 1921/R, 2/1967)
ed. C. Cox: Eurhythmics, Art and Education (London, 1930/R) [essays written 1922–5; trans. by F. Rothwell]
Solfège rythmique vocal (Lausanne, 1925; Eng. trans., 1994)
Métrique et rythmique (Paris, 1937–8)
La jolie musique (Le Locle, 1939)
Souvenirs: notes et critiques (Neuchâtel, 1942)
La musique et nous: notes sur notre double vie (Geneva, 1945/R)
Notes bariolées (Geneva, 1948) 

Font: En català: Émile Jaques-Dalcroze (1865-1950) En castellano: Émile Jaques-Dalcroze (1865-1950) In english: Émile Jaques-Dalcroze (1865-1950) - Altres: Émile Jaques-Dalcroze (1865-1950)



Parlem en veu pròpia o en veu d'altri...

The method itself, originally intended to develop the sense of rhythm in music students, provides a general training in music theory, improvisation and rhythmic movement and is also used in the education of children, inasmuch as it quickens mental responsiveness and the powers of self-expression. An important element of the method is Jaques-Dalcroze's theory of arrhythmia, in which a conscious and unconscious bodily sense is brought into play, with the feet making automatic patterns while the arms and the voice respond to improvised music. After this training to obtain the pupil's rapid physical reaction to changing rhythms, which are supplied by the teacher improvising at the piano, whole musical compositions are translated into a language of bodily movement. Bach's fugues, Gluck's Orfeo and other works have in this way been given plastic expression by the Jaques-Dalcroze schools, and the principles underlying the method have been applied in varying degrees to theatrical and operatic productions. Among many distinguished students who evolved his method further are the composer Frank Martin, the dancer Mary Wigman, and Elfriede Feudel, Juan Llongueras and Mimi Scheiblauer, who adapted it to both general and special education purposes. Besides having written books, pamphlets and articles in periodicals about his method, Jaques-Dalcroze wrote a large number of musical compositions, some in popular folk style, some for teaching purposes. (A complete catalogue of his works has been published by the Institut Jaques-Dalcroze, Geneva, 1995–9.) Although his compositions are rarely played today, his significance for the field of musical education has remained, with over 30 institutes worldwide offering a professional education in the tradition of his method.

GROVE MUSIC ONLINE (source/font: aquí)

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The restoration of Jaques-Dalcroze’s compositional fortunes continues. Sterling 1057-2 contained some wry orchestral music and as with this Guild disc, it was Moscow forces that paraded them, the same orchestra as here in fact, though Sterling employed Adriano to conduct. Jaques-Dalcroze is best known now for his invention of eurhythmics. But as a musical theoretician Jaques-Dalcroze was also a well received composer of the time – his songs were popular, and he wrote widely. He was also chummy with many leading soloists. In the case of his violin music for example, Ysaÿe premiered the Nocturne in June 1900. Henri Marteau did the honours for the Concerto in C minor which was first heard in 1900. The composer was thirty-six, and writes with mellifluous, if old-fashioned charm. The work is decently structured, buttressed by some columnar orchestral passages, but let down by a first movement fugal section of feebly orthodox, academic windbaggery. There is, otherwise, genial non-virtuoso and slightly meandering progress in which the soloist is more a colouristic agent than a striving propagandist for novelty or melodic distinction. There is chorale solemnity in the central movement, then flowing lyricism; attractive though not especially distinctive. The slightly pomposo pealing motif that starts the finale carries strong late Romantic charges, and then a floridly exciting waltz section enters. This is all nicely pointed though undeniably episodic. It takes the concerto dangerously near ballet music waters, a genre at which he was clearly adept. If this suggests a distillation of the concerto ethos I wouldn’t disagree. It ignores the Brahms-Tchaikovsky axis wholly.

Jonathan Woolf (source/font: aquí)

Gaudiu i compartiu! 



Informació addicional... 


















Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

5 comentaris:

  1. Un administrador del blog ha eliminat aquest comentari.

    ResponElimina
  2. Many thanks and regards from The Netherlands.
    Veel dank en groeten uit Nederland.

    ResponElimina
  3. Esto es un regalo de navidad,un cd precioso e inédito,mil gracias Pau,amo este sello Guild,y la voluptuosa Sinfónica de Moscú,con estos opus maravillosos,ahh,y el cuadro ad hoc de Giacometti,no encuentro otro término para ese camplo floral más que:Infinito.Gracias.Tapirman.

    ResponElimina
    Respostes
    1. El sello Guild destaca no solo por su calidad sino a menudo por el repertorio, muchas veces inédito, que recupera! Estoy siempre atento a sus novedades!

      Un abrazo!! Gracias!!
      Pau

      Elimina