Paul Dukas (1865-1935), Sonnet de Ronsard for voice and piano (1924), on a poem (from Amours, Book I, CLXV: Sonnet ) by Pierre de Ronsard (1524 - 1585).
Piano: Jerome Ducros
Counter-tenor: Philippe Jaroussky
Opium - Mélodies Françaises
℗ 2009 Erato/Warner Classics, Warner Music UK Ltd
Paul Abraham Dukas (French: [dykas] or French: [dyka]; 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, having 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, Walter Piston, Manuel Ponce, Joaquín Rodrigo and Xian Xinghai.
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Pierre de Ronsard (French pronunciation: [pjɛʁ də ʁɔ̃saʁ]; 11 September 1524 - 27 December 1585) was a French poet or, as his own generation in France called him, a "prince of poets".
His many odes are interesting, and at best are fine compositions. He began by imitating the strophic arrangement of the ancients, but very soon had the wisdom to desert this for a kind of adjustment of the Horatian ode to rhyme, instead of exact quantitative metre. In this latter kind he devised some exquisitely melodious rhythms of which, till our own day, the secret died with the 17th century. His more sustained work sometimes displays a bad selection of measure; and his occasional poetry-epistles, eclogues, elegies, etc.--is injured by its vast volume. In short, Ronsard shows eminently the two great attractions of French 16th-century poetry as compared with that of the two following ages - magnificence of language and imagery and graceful variety of metre.
(Wikipedia)
Original audio: • Amours, Book I, CLXIX:...
Score: imslp.org/wiki...
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