Roberto Benzi, Orchestre de Bordeaux Aquitaine for more information and analysis ofthis work visit muswrite.blogsp... For information and analyses of other works visit Musical Musings at : muswrite.blogsp...
The opening fanfare is in stark contrast to the ethereal quality of the rest of the piece. Nonetheless a magnificent early 20th century iconic music poem. I would hope that when I pass on that each day is spent in those heavenly halls listening to music such as this and conversing with the composer over coffee and croisants.
I've played this as a ballet in a couple of theaters in Belgium, and I have to confess that although I like the piece, it's somewhat over-orchestrated in spots. As an example, at around 10:00 or so, the cello part (which I played) has numerous arpeggiated figures which are very difficult and are simply not heard. A first violinist told me that this piece is one of the most challenging in the ballet repertoire, even in a category where the first violins typically are required to play almost constantly! Other sections if this piece have very effective and colorful orchestration (sections with harp, celeste and bells come to mind). It was certainly a memorable experience (even almost 40 years later). Thanks for posting this effective recording!
Kurt Kaufman I played this piece recently and got the same reaction from the cellos. The conductor, irritated that they were whispering loudly during rehearsal, had them not play during one of the arpeggio sections, and then just hold the notes out. It didn’t sound very good, and no one complained for the rest of rehearsal. It’s a really annoying but necessary part of the piece, and is an effect many composers (Sibelius: violin concerto, Strauss: everything lmao) used.
@@tchaikoffkey I agree with Kurt Kaufman. You can't hear those cello arpeggios at all, maybe only if you're very close to the cellos. I believe those difficult arpeggios are not "necessary" the way they are written, that is, they are unnecessarily difficult given the fact that they hardly contribute to the overall audible result (if at all). Dukas could at least have simplified the part or write something more practical and it wouldn't make much of a difference to the overall orchestral sound. The same applies to lots of passages in the harp parts (which are inaudible anyway in most orchestral music).
Kurt Kaufman, ti ringrazio di queste delucidazioni. Trovo Dukas un eccellente compositore, evocativo, fantastico. In alcuni momenti pare Messiaen. In Italia si esegue pochissimo come pure Messiaen. Ancora grazie.
Please, don't be "sour grapes"! I love it! I derive a tsunamis of PURE, COSMIC PLEASURE from its over-lush impressionistic harmonies and orchestration! I have learned in life to enjoy what I---- REALLY---- ENJOY!!!! Note, so many "academics" and critics never stop pouring vitriol on Ponchielli's La Gioconda, condemning it as "pure trash"! Yet, "the masses" never stop loving it, and, never stop buying tickets for it!!! Now, I give a "disclaimer": this opera is not a favorite of mine! I don't think it's a "bad" opera at all. Yet, I recognize that it is not as great as, for example, Tosca. Now note that, for example, Tristan und Isolde, makes Tosca, embarrasingly---- "simple-minded"! My point is that no one should condemn others' tastes. Yes, I see that it is impossible to express, all, artistic opinions without offending someone, but, for me, what The Enlightment, the 20th and from now on in the 21st, and, beyond, are about is that we must, have, to, recognize, and, embrace---- with, LOVE, the Reality that all Humans are DIVERSE!!!! Don't "pout and fume" when you encounter someone who is "turned on" by someone or something that "turns you off"! Forgive me, if I am now offending you by sounding "preachy", but I have to say it. As a young man I read that the Black Hand was formed by Bosnians and Herzegovinans who felt intolerably abused and oppressed by the Austro-Hungarians who forced them, brutally, to speak only in Hungarian, and, to forcebly convert to Roman Catholicism. Their despairate act to rid themselves of such abuse was to assassinate the heir to the Austro-Hungarian throne. We all know what happened: this sparked World War I, and, that gave Humanity---- Communism, and, infinitely above all, the greatest monstrosity of History--- The HOLOCAUST!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Look what Intolerance bred!!!!
Almost everyone knows The Sorcerer's Apprentice. Many will know it was written by Paul Dukas, but who was Paul Dukas? He was French? Lived a hundred years ago? I wasn't even sure about this. So good to find such worthwhile music to fill in the blanks. Having read a bit about the piece now, apparently the fanfare was composed so the audience would stop chatting and sit down, because the music starts very quietly otherwise! This is exceptionally well played, I suppose the French have to be good at playing their own music. You can recognise the orchestration of the softer mysterious parts as very like that in the Sorcerer's Apprentice. I'm really enjoying it, would love to see it danced to, and the exotic costumes and scenery.
I think this is one of the best purely symphonyc pieces ever written by a Frech composer. It is simply exquisite... The performance is fantastic. Many thanks for sharing.
In the 1980s I saw the London Festival Ballet dance Dukas La Peri. I still struggle with the intoxication of the memories of the those supernatural creatures appearing on stage out of the mist of the full moon. They crossed the stage in unending flights of glittering magic. This music brings it all back. It tortures me still.
I have loved this piece for nearly 60 years and yet it is NEVER played on the radio...never. I do not know why.....I still have the vinyl version......
Paul DUKAS, as many other musicians have got a great repertoire and yet, we know so little of them... Thanks for uploading this piece! World-over orchestras should start playing this great music!
I heard this for the first time ever on KUHA yesterday (Houston 24/7 classical station)! It is gorgeous. I was in my car at the time on my way to a piano student's home so couldn't hear all of it. Glad I found it here! And to think the only Dukas work I was familiar with was The Sorcerer's Apprentice! This does not even sound like it's from the same composer! Thanks for posting!
I've loved this piece since first hearing it as a 20-year old, some 45 years ago!! I'm pretty sure it was the Ernest Ansermet version on Decca. It's one of my favourite examples of "orientalism", along with Schmitt's "La Tragedie de Salome", Debussy's "Khamma" (orchestrated by Koechlin) and Balakirev's "Tamara", a piece that is a clear antecedent to "La Peri", to these ears at least. Wonderfully evocative, ravishing stuff!
Max Merry -I could add a lot more orientalising classical works to your list:Scheherezade by Rimsky-Korsakov,Islamey by Balakirev,The Legend of Belkis by Ottorino Respighi,Aladdin by Nielsen,some of the works of Felicien David and of course many operas set in the Middle east like Saint-saens Samson and Delilah.
La Peri is probably the most sophisticated score of Dukas - who deleted much and left few of them - at least in the harmonic and melodic plans. Here, he is very close to Debussy and Ravel. The concept of 'Danced Poem' is also an original point, at the crossroad between arts which was a key idea of the end of the XIX° Century and the beginning of XX°.
Merci for your many eloquent comments of French composers. They truly Hav a perfume about them. We are so blessed with that exquisite musical fragrance-
Unfortunately, Dukas was a very self critical composer who destroyed many works he had written because he felt dissatisfied with them . I've heard he even considered destroying the manuscript of La Peri, which leaves one with the disturbing thought that he may have destroyed the manuscripts of some genuine masterpieces which could and should have become a part of the repertoire . Composers aren't always the best judges of their own music !
Yes,there is another LA PERI by Burgmùller a very romantic ballet music Same story. Revived in Berlin 3 years ago, and it is companion of other oriental ballets: La Bayadère, La Source, Le Papillon, Cleopatre, La Fille du Pharaòn, Ballet Egipcien, Sheherezade, Sadko etc. viquez
I first heard La Peri 65 or more years ago and wore out the vinyl grooves. But I don't remember the horn fanfare beginning. Must have been an edited version. The ballet is described as a King has heard of a magic flower that gives its holder eternal life, but it is guarded by fairies. He finds and steals it, but LA PERI goes into a seductive dance and he gives her back the flower without REGRETS. The story may have intrigued me too much -- trying to visualize that dance.
The fanfare is a kind of separate prologue that Dukas wrote because the very delicate beginning was often disturbed by people entering the theater late. So, supposedly, he wrote a big fanfare to signal the beginning and to cover up the noise of the late entrants, so that the beginning could then be heard in a quieter context
One of my favourite pieces of music. A pity he was so self-critical, I bet much of his work he destroyed is considerably better than what some other composers have left us with.
I am just discovering other pieces by Dukas beyond The Sorcerer's Apprentice. How strange that he isn't more well know. I would appreciate a reference for the poem he wrote on...or was this the poem, too?
La Péri, Poème dansé Voici la première page de la partition, texte/poème de Paul Dukas: “Il advint qu’à la fin des jours de sa jeunesse, les Mages ayant observé que son astre pâlissait, Iskender parcourut l’Iran, cherchant la Fleur d’Immortalité. Le soleil séjourna trois fois dans ses douze demeures sans qu’l la trouvât, jusqu’à ce qu’il parvint enfin aux extrémités de la Terre, au point où elle ne fait plus qu’un avec la mer et les nuages. Et là, sur les degrés qui conduisent aux parvis d’Ormuzd, une Péri était étendue, dormant dans sa robe de pierreries. Une étoile scintillait au-dessus de sa tête, son luth reposait sur son sein et dans a main la Fleur brillait. Et c’était un lotus pareil à l’émeraude, ondoyant comme la mer au soleil du matin. Iskender se pencha sans bruit vers la Dormeuse et, sans l’éveiller, lui ravit la Fleur, qui devint soudain, entre ses doigts, comme le ciel de midi sur les forêts du Ghilan. Mais la Péri, ouvrant les yeux, frappa les paumes de ses mains l’une contre l’autre et poussa un grand cri. Car elle ne pouvait, à présent, remonter vers la lumière d’Ormuzd. Cependant Iskender, la considérant, admira son visage qui surpassait en délices celui même de Gurdaferrid. Et il la convoita dans son cœur. De sorte que la Péri connut la pensée du Roi; car dans la droite d’Iskender, le lotus empourpra et devint comme la face du désir. Ainsi, la servante des Purs sut que cette fleur de Vie ne lui était pas destinée. Et pour la ressaisir s’élança, légère comme l’abeille. Pendant que le Seigneur Invincible éloignait d’elle le lotus, partagé entre sa soif d’immortalité et la délectation de ses yeux. Mais la Péri danse la danse des Péris. S’approchant toujours d’avantage, jusqu’à ce que son visage touchât le visage d’Iskender. Et qu’à la fin lui rendit la fleur sans regret. Alors le lotus sembla de neige et d’or comme la cime de l’Elbrouz au soleil du soir. Puis la forme de la Péri parut se fondre dans la lumière émanée du calice et bientôt plus rien n’en fut visible, si ce n’est une main, élevant la fleur de flamme, qui s’effaçait dans la région supérieure. Iskender la vit disparaitre. Et comprenant que, par-là, lui était signifiée sa fin prochaine, il sentit l’ombre l’entourer.” It happened that at the end of the days of his youth, the Magi, having observed that his star was turning pale, Iskender traveled through Iran, searching for the Immortal Flower. The sun stayed three times in its twelve dwellings, but he did not find it, until he finally reached the end of the Earth, at the point where it becomes one with the sea and the clouds. And there, on the steps leading to the forecourt of Ormuzd, a Peri was stretched out, sleeping in her jeweled robe. A star twinkled above her head, her lute rested on her breast, and in her hand the Flower shone. And it was a lotus, emeraldlike, shimmering like the sea in the morning sun. Iskender leaned noiselessly towards the sleeping Peri and, without waking her, robbed her of the Flower, which suddenly became, in his fingers, like the midday sky over the forests of Ghilan. But the Peri, opening her eyes, struck the palms of her hands together and uttered a loud cry. For she could not go back now to the light of Ormuzd. However, considering it, Iskender admired her face, which surpassed that of Gurdaferrid in delight. And he coveted her in his heart. So much so, that the Peri knew the King's thought; for in the right hand of Iskender the lotus turned purple and became like the face of desire. Thus the servant of the Pure knew that this flower of life was not destined for him. And to seize it again, she sprang up, light as a bee. The Invincible Lord held the lotus away from her, torn between his thirst for immortality and the delight of his eyes. But then the Peri danced the Peris’ dance. Always coming closer, until her face touched Iskender's face. And in the end he gave back the flower to her, without regret. Then the lotus looked like it was made of snow and gold, just like the summit of Elbrus in the evening sun. The form of the Peri seemed to melt into the light emanating from the chalice, and soon nothing was visible except a hand, raising the flower of flame, which faded into the upper region. Iskender saw her disappear. And understanding that that meant his end was near, he felt the shadows surround him. "
