The “Compozitor Publishing House • StPetersburg” calls your attention to the piece “Villanelle” by Paul Dukas. It was initially composed for the French-horn and piano till the eminent horn-player Vitaliy Mikhailovich Buyanovsky made its piano part’s orchestration.
Paul Dukas (1865–1935) — the great French composer, music critic and teacher graduated from the Paris Conservatoire, where he studied at G. Mathias (piano) and E. Guiraud (composition). Dukas early opuses managed to captivate the leading French symphony orchestras. N. A. Rimsky-Korsakov appreciated the brilliant orchestration of the “Sorcerer’s Apprentice” (1897) by Paul Dukas. It was in the 1890ies, when the French composer was undergoing the influence of K. Wagner and C. Frank.
The 1920ies are marked by his passion to the old French music. Simultaneously that period gave birth to psychological effusions, anointed with exquisite phonations.
Paul Dukas’ occupation as a critic was also very fruitful. 330 articles were written by him. The spheres his mind embraced concerned such sciences as philosophy, history, literature etc. His literary works are imbued with the spirit of humaneness, peculiar for his attitude to traditions and innovation. Dukas was one of the first to have estimated M. P. Musorgsky’s music.
As to the composer’s pedagogical activity, Dukas practised from 1909 as the Parisian Conservatoire professor. Among his disciples were Albeniz, Milhaud, Messian.
Dukas tried various genres — opera, ballet, symphony. However, the “Villanelle” for French horn and piano attaches to chamber instrumental music sphere. It appeared in 1906.
Vitaliy Mikhailovich Buyanovsky described Dukas’ Vilanelle as the genre scene, i. e. the horn-player, entertaining country inhabitants. Hence some folk intonations and huntsman’s horn, resounding from afar, mingled with recitations. It was in 1966, when V. Buyanovsky instrumentated the piece’s piano part.
The symphonic timbre adds a zest to the whole facture, nourishing the solo French-horn’s phonation. The other instruments seem now to interlace with the French-horn itself, now to be its echo.
The “Compozitor Publishing House • StPetersburg” calls your attention to the piece “Villanelle” by Paul Dukas. It was initially composed for the French-horn and piano till the eminent horn-player Vitaliy Mikhailovich Buyanovsky made its piano part’s orchestration.
Paul Dukas (1865–1935) — the great French composer, music critic and teacher graduated from the Paris Conservatoire, where he studied at G. Mathias (piano) and E. Guiraud (composition). Dukas early opuses managed to captivate the leading French symphony orchestras. N. A. Rimsky-Korsakov appreciated the brilliant orchestration of the “Sorcerer’s Apprentice” (1897) by Paul Dukas. It was in the 1890ies, when the French composer was undergoing the influence of K. Wagner and C. Frank.
The 1920ies are marked by his passion to the old French music. Simultaneously that period gave birth to psychological effusions, anointed with exquisite phonations.
Paul Dukas’ occupation as a critic was also very fruitful. 330 articles were written by him. The spheres his mind embraced concerned such sciences as philosophy, history, literature etc. His literary works are imbued with the spirit of humaneness, peculiar for his attitude to traditions and innovation. Dukas was one of the first to have estimated M. P. Musorgsky’s music.
As to the composer’s pedagogical activity, Dukas practised from 1909 as the Parisian Conservatoire professor. Among his disciples were Albeniz, Milhaud, Messian.
Dukas tried various genres — opera, ballet, symphony. However, the “Villanelle” for French horn and piano attaches to chamber instrumental music sphere. It appeared in 1906.
Vitaliy Mikhailovich Buyanovsky described Dukas’ Vilanelle as the genre scene, i. e. the horn-player, entertaining country inhabitants. Hence some folk intonations and huntsman’s horn, resounding from afar, mingled with recitations. It was in 1966, when V. Buyanovsky instrumentated the piece’s piano part.
The symphonic timbre adds a zest to the whole facture, nourishing the solo French-horn’s phonation. The other instruments seem now to interlace with the French-horn itself, now to be its echo.
Издательство "Композитор • Санкт-Петербург" публикует инструментовку (оркестровку, партитуру) фортепианной партии пьесы для валторны Поля Дюка "Вилланеллы", сделанную известным валторнистом Виталием Михайловичем Буяновским.
Поль Дюка (1865–1935) — французский композитор, музыкальный критик, педагог. В 1882–1888 году учился в Парижской консерватории у Ж. Матьяса (класс фортепиано) и Э. Гиро (класс композиции).
Уже первые его симфонические произведения вошли в репертуар ведущих французских симфонических оркестров. Мировую известность принесло композитору симфоническое скерцо "Ученик чародея" (1897), блестящую оркестровку которого высоко оценил Н. А. Римский-Корсаков. Произведения 1890-х годов в значительной степени свидетельствуют о влиянии на творческую манеру Дюка произведений Р. Вагнера и С. Франка.
Сочинения 20-х годов XX века характеризуются большой психологической сложностью, утонченностью гармоний, стремлением к возрождению традиций старинной французской музыки.
Значительно критическое наследие П. Дюка. Им написано более 330 статей. Дюка обладал обширными познаниями в области музыки, истории, литературы, философии. Его статьи отличались гуманистической направленностью, пониманием традиций и новаторства. Одним из первых во Франции он оценил творчество М. П. Мусоргского.
П. Дюка вел большую педагогическую работу. С 1909 года он профессор Парижской консерватории. Среди его учеников Альбенис, Мийо, Мессиан. В композиторском наследии Дюка среди произведений различных жанров (опера, балет, симфонии) присутствуют и камерно-инструментальные сочинения. В их числе "Вилланелла" для валторны и фортепиано, написанная в 1906 году. Виталий Михайлович Буяновский описал эту пьесу как "жанровую сцену игры валторниста перед деревенской публикой". Здесь и простой народный напев, и речитативная декламация, и сигнал охотничьего рога. В 1966 году В. Буяновский инструментовал фортепианную партию этой пьесы, обогатив ее звучанием различных инструментов симфонического оркестра.
Izdatelstvo "Kompozitor • Sankt-Peterburg" publikuet instrumentovku (orkestrovku, partituru) fortepiannoj partii pesy dlja valtorny Polja Djuka "Villanelly", sdelannuju izvestnym valtornistom Vitaliem Mikhajlovichem Bujanovskim.
Pol Djuka (1865–1935) — frantsuzskij kompozitor, muzykalnyj kritik, pedagog. V 1882–1888 godu uchilsja v Parizhskoj konservatorii u Zh. Matjasa (klass fortepiano) i E. Giro (klass kompozitsii).
Uzhe pervye ego simfonicheskie proizvedenija voshli v repertuar veduschikh frantsuzskikh simfonicheskikh orkestrov. Mirovuju izvestnost prineslo kompozitoru simfonicheskoe skertso "Uchenik charodeja" (1897), blestjaschuju orkestrovku kotorogo vysoko otsenil N. A. Rimskij-Korsakov. Proizvedenija 1890-kh godov v znachitelnoj stepeni svidetelstvujut o vlijanii na tvorcheskuju maneru Djuka proizvedenij R. Vagnera i S. Franka.
Sochinenija 20-kh godov XX veka kharakterizujutsja bolshoj psikhologicheskoj slozhnostju, utonchennostju garmonij, stremleniem k vozrozhdeniju traditsij starinnoj frantsuzskoj muzyki.
Znachitelno kriticheskoe nasledie P. Djuka. Im napisano bolee 330 statej. Djuka obladal obshirnymi poznanijami v oblasti muzyki, istorii, literatury, filosofii. Ego stati otlichalis gumanisticheskoj napravlennostju, ponimaniem traditsij i novatorstva. Odnim iz pervykh vo Frantsii on otsenil tvorchestvo M. P. Musorgskogo.
P. Djuka vel bolshuju pedagogicheskuju rabotu. S 1909 goda on professor Parizhskoj konservatorii. Sredi ego uchenikov Albenis, Mijo, Messian. V kompozitorskom nasledii Djuka sredi proizvedenij razlichnykh zhanrov (opera, balet, simfonii) prisutstvujut i kamerno-instrumentalnye sochinenija. V ikh chisle "Villanella" dlja valtorny i fortepiano, napisannaja v 1906 godu. Vitalij Mikhajlovich Bujanovskij opisal etu pesu kak "zhanrovuju stsenu igry valtornista pered derevenskoj publikoj". Zdes i prostoj narodnyj napev, i rechitativnaja deklamatsija, i signal okhotnichego roga. V 1966 godu V. Bujanovskij instrumentoval fortepiannuju partiju etoj pesy, obogativ ee zvuchaniem razlichnykh instrumentov simfonicheskogo orkestra.
