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Background: When Dukas composed L'Apprenti sorcier' in 1897, he could never have imagined that this brief ten-minute scherzo was to propel him into worldwide fame. The symphonic poem held sway and he accordingly embraced the form innovated by Liszt, following in the footsteps of Saint-Saens and d'Indy. Bizet's clear, bright and sparkling instrumentation, in which vivid colours blend into delicate shades, fully demonstrates that there was nothing that this composer had to learn about orchestration. It provided him with a passport to what Nietzsche called 'mediterranean art', which reached its culimination in Carmen, and the two suites taken from the opera are equally evocative. Rosenthal accepted a commission from the Ballets de Monte-Carlo to compose La Gaite parisienne, based on melodies by Jacques Offenbach. The work is light, lively and graceful, and its subtle orchestration, as befits a former pupil of Ravel, has assured its continuing popularity. Rosenthal later added his own Allegro molto to equally striking effect. |
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COMPOSER: Paul Dukas (other
composers in brackets after works) |
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