A second section is more spry, with dotted rhythms and tremolos in the viola, and a quickening of tempo. The Interlude is more pastoral than the "Pastorale" first movement, a veritable romp through the meadow with a leaping, carefree melody shared by flute and viola over a tapestry of harp. For details on how we use cookies, see our. War threatened Paris, his marriage was unhappy, and pain from rectal cancer hobbled him. What is more certain is that at the time of the composition of, , Strauss was immersing himself in the works of Goethe, who represented for him the summit of the German art and humanism that appeared under threat in the twentieth century. I could do so, however, without embarrassment for it is the music of a Debussy whom I no longer know. Claude Debussy’s Sonata for Flute, Viola, and Harp dates from the last years of Debussy’s life. No one can really know himself, detach himself from his inner being; yet he must daily put to the test whenever he can clearly see from without—what he is and what he has, what he can do and what he cares for. , 1790). It was written in 1915 as part of a planned set of six sonatas for various instrumental combinations; Debussy’s final illness and death in … Give Now Paul Schoenfield has provided the following program note to accompany Café Music: The idea to compose Café Music first came to me in 1985 after sitting in one night for the pianist at Murray’s Restaurant in Minneapolis, Minnesota. Strauss had copied the lines into his sketchbooks and had begun to set it to music, but later incorporated those materials into. Debussy himself recognized the shadows of the younger composer in this work, and seemed to mourn his loss in a letter to Godet dated December 11, 1916: "The sound of it is not bad, though it is not for me to speak to you of the music. Strauss’s late and introspective Metamorphosen was written at a time when much of the German nation was coping with the trauma afflicted upon many of its people by the Nazis and upon its territory by years of warfare. was commissioned by the St. Paul Chamber Orchestra (SPCO) and received its premiere during a SPCO chamber concert in January 1987. was written at a time when much of the German nation was coping with the trauma afflicted upon many of its people by the Nazis and upon its territory by years of warfare. The finale adds a fiery element to the ideas introduced so far: The pace is quickened, the texture becomes more dense, the tessitura lower. for twenty-three strings, to fulfill a commission extended to him by Paul Sacher. Given the musical intensity of, , it is tempting to search for meaning in this work: might the work, for example, help elucidate Strauss’s beleaguered relationship to Nazi Germany, between his frequent complicity with the regime and his private antipathy toward its politics? Brunswick, ME 04011-8463, Admissions: grace@bowdoinfestival.org To set the tone for it all is the bucolic pastorale which opens Debussy’s late Sonata for Flute, Viola and Harp, one of a set of sonatas Debussy was composing at the time of his death. ¿Hablas español? Sonata for Flute, Viola, and Harp. Sonata for Flute, Viola & Harp (1915) by Claude Debussy “The musical genius of France is something like a dream in the senses…” The words and music of Claude Debussy certainly cast a long shadow over the music of the twentieth century. Debussy wrote in the manuscript of his violin sonata that the fourth sonata should be written for oboe, horn, and harpsichord, and the fifth for trumpet, clarinet, bassoon and piano. The Sonata for flute, viola, and harp (French: Sonate pour flûte, alto, et harpe), L. 137, was written by the French composer Achille-Claude Debussy (22 August 1862 – 25 March 1918) in 1915. This site uses cookies to offer you the best possible experience. Here it is played by the “Formosa Trio”, Pei-San Chiu (flute), Tze-Ying Wu (viola) and Joy Yeh (harp). efforts upon the auditory faculty.” Debussy died having only completed half of the six sonatas, depriving listeners of the chance to hear his planned fourth sonata for oboe, horn, and harpsichord (! Of the three late sonatas, the first, for flute, viola, and harp, stands out as the most Debussian. Goethe, delving into questions of science and philosophy, had developed his own notion of “metamorphosis” in his Die Metamorphose der Pflanzen (The Metamorphosis of Plants, 1790). Phone: 207-373-1400, Office: info@bowdoinfestival.org