Write to the booksellers2 books for « fran ois del cluse »Edit
Esquisses musicales. Enjeux et approches du XIXe au XXe si cle
, Brepols, 2023 Paperback, 310 pages, Size:190 x 240 mm, Illustrations:6 b/w, 16 col., 9 tables b/w., 59 exemples musicaux, Language(s):French, English. ISBN 9782503601144.
Summary La fascination pour la gen se des oeuvres musicales s'est d velopp e progressivement la fin du XVIIIe si cle par l'acc s des compositeurs une reconnaissance de leur travail et de leur statut. Cette l gitimation les a conduits conserver pr cieusement les traces de leur activit cr atrice (brouillons, bauches et carnets, preuves corrig es, etc.). N anmoins, ce n'est que depuis quelques d cennies qu'a t pris en compte le potentiel que rec le l' tude attentive de telles sources. Si les esquisses musicales livrent de nombreuses informations sur les tapes de la composition, elles s'ins rent au sein d'une r flexion plus large sur les pratiques compositionnelles qui prend appui sur d autres types de sources (correspondances, crits th oriques, articles de presse, photographies, etc.). Cet ouvrage rassemble neuf tudes abordant l'esquisse musicale de plusieurs angles. Dans leurs contributions, les auteur(e)s examinent la sp cificit de l'esquisse musicale au regard de la production de compositeurs du XIXe et du XXe si cle tels que Saint-Sa ns, S verac, Satie, Debussy, Mahler, Schoenberg, Bart k, Ligeti, Nono. Cette diversit temporelle et esth tique englobe des probl matiques vari es qui s'articulent autour d'un m me objet, l'aune de la philologie, de l'histoire, de la sociologie et de la critique g n tique. TABLE OF CONTENTS Fran ois Del cluse ? Avant-propos Anna Stoll Knecht ? Le mythe face l'esquisse Alexandre Robert ? Un usage sociologique des esquisses musicales ? Socialisation, style de travail et sch mes d' criture chez D odat de S verac Caroline Potter ? Text-Music Relations in Erik Satie's Works Seen through His Sketches Yusuke Nakahara ? Transforming a Character Piece Into ?the Diary of a Fly?? A Case Study from Bart k's Piano Lessons Fran ois Del cluse et Thomas Lac te ? Une esquisse oubli e du Pr lude l'Apr s-midi d'un faune Fabien Guilloux ? Les esquisses et brouillons de Camille Saint-Sa ns : l'oeuvre instrumental Fran ois Del cluse ? Trois id es musicales pour une esquisse : l'art de commencer chez Debussy Ulrich Kr mer ? From Schoenberg's Workshop. The Sketch as a Laboratory of Musical Thought Paolo Dal Molin ? Le compositeur th oricien et les esquisses des autres. Essai sur les Wandlungen der musikalischen Form de Gy rgy Ligeti Les auteurs de l'ouvrage Index des noms et des oeuvres
Claude Debussy's Violin Sonata. Sources of the Creative Process
, Brepols, 2026 Hardback, Pages: 277, Size:240 x 340 mm, Illustrations:44 b/w, 119 col., 3 tables b/w., Language: English. ISBN 9782503624310.
Summary Composed only a few months before his death, Claude Debussy's Violin Sonata was the composer's final work and the result of a complex process that embraced an unusually large number of musical sources. In this study, many facets of Debussy's creative process are examined, as well as the difficulties through which he toiled for several months before handing over the final manuscript of the work to his publisher. In addition to musical sources, many other documents bear witness to the Sonata's progress from the initial draft to Durand's published edition. The Violin Sonata was written during a period on which the Great War cast a long shadow. It was also influenced by the composer's challenging compositional crisis and the terrible illness that was to claim his life shortly after the work's premiere. The Sonata's finale proved most problematic for Debussy, and thus an examination both of this movement's sketches and relevant correspondence uncovers several alternate versions, reconstructed here. TABLE OF CONTENTS Preface Introductory Essay: 'What a Sick Man Can Write in Time of War' Debussy at Work, as Seen by His Friends and Family Composing During the Great War The Reception of Debussy's Music at the End of His Life History of the Violin Sonata Chapter I. Compositional Methods Document 1: 'Six Sonates ...etc...' (S1) Document 2: Sketchbook (S2), fol. 23v Document 3: Sketchbook (S2), fols 24r-29r, 30v-31r Document 4: Sketchbook (S2), fols 31v-32v Document 5: Sketchbook (S2), fols 34r-36r, 38v-39v Document 6: Letter from Debussy to Jacques Durand, 17 October 1916 (S3) Document 7: Sketchbook (S2), fols 41v-42r, 44v-45v, 48r Document 8: Fair Copy (S9), Allegro vivo, fols 1r-8r, Interm de, fols 9r-11r Chapter II. 'The Finale That Just Would Not End' Document 9: Sketchbook (S2), fol. 1r Document 10: Former Stichvorlage (S5, S5bis), fols 15r-15v Document 11: Sketchbook (S2), fols 29v-30r, 36v-38r Document 12: Sketchbook (S2), fols 39v-41v Document 13: Draft of the Neapolitan Finale (S4), fols 8r-12r Document 14: Sketches of Alternative Finales (S5, S5bis, S6, S7, S8) Document 15: Fair Copy (S9), Finale, fols 1r-11r Document 16: Corrected Proofs (S11) Conclusion Appendices Appendix 1: Sketches of the Alternative Finales Appendix 2: Fair Copy (S9), 'Finale', fols 1r-11r Appendix 3: Stichvorlage (S10), fols 1r-19r Bibliography
