Charles Koechlin
Charles Koechlin | |
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Born | |
Died | 31 December 1950 | (aged 83)
Occupations |
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Works | List of compositions |
Charles-Louis-Eugène Koechlin (French:
He was a political radical all his life and a passionate enthusiast for such diverse things as medieval music, The Jungle Book of Rudyard Kipling, Johann Sebastian Bach, film stars (especially Lilian Harvey and Ginger Rogers), traveling, stereoscopic photography and socialism. He once said: "The artist needs an ivory tower, not as an escape from the world, but as a place where he can view the world and be himself. This tower is for the artist like a lighthouse shining out across the world."[1]
Life and career
Charles Koechlin was born in Paris and baptized Charles-Louis-Eugène Koechlin. He was the youngest child of a
After his graduation Koechlin became a freelance composer and teacher. He married Suzanne Pierrard in 1903. They had five children. Their son Yves later married
He visited the US four times to lecture and teach: in 1918–19, 1928, 1929 and 1937. On the second and third visits he taught at the University of California, Berkeley, through arrangements made by Catherine Murphy Urner, who afterward lived with him until 1933.[2] On the 1929 visit his symphonic poem La Joie païenne won the Hollywood Bowl Prize for Composition and was performed there under the baton of Eugene Goossens. Even so, Koechlin had to pay for the preparation of orchestral parts, and in the 1930s he sank most of his savings into organizing performances of some of his orchestral works. In the 1940s, however, the music department of Belgian Radio took up his cause and broadcast several premieres of important scores including the first complete performance of the Jungle Book cycle.
He died aged 83 at his country home at
Music
Koechlin was enormously prolific, as the worklist below (by no means exhaustive) suggests. He was highly eclectic in inspiration (nature, the mysterious orient, French folksong, Bachian chorale,
After World War I his continuing devotion to the symphonic poem and the large orchestra at a period when
He wrote in several styles, sometimes strict Baroque counterpoint, as in the fugue that opens his Second Symphony, and sometimes "impressionistically", as in the tone poem Au Loin, or (though in more astringent fashion) in the scherzo of his Symphony No. 2. He could go from extreme simplicity to extreme complexity of texture and harmony from work to work, or within the same work. Some of his most characteristic effects come from a very static treatment of harmony, savouring the effect of, for instance, a stacked-up series of fifths through the whole gamut of the instruments. His melodies are often long, asymmetrical and wide-ranging in
As teacher and author
Koechlin began assisting Fauré in teaching fugue and counterpoint while he was still a student in the 1890s, but though he taught privately and was an external examiner for the Paris Conservatoire throughout his career, he never occupied a permanent salaried teaching position. Composers who studied with him included
Character
Despite his lack of worldly success, Koechlin was apparently a loved and venerated figure in French music, with his long flowing beard contributing to his patriarchal image. Following his 1888 illness, the need to build up his strength led him to become an enthusiastic mountaineer, swimmer and tennis player. He was also an amateur astronomer and an accomplished photographer. He was one of the great nature-mystics among French composers, whose personal creed was pantheistic rather than Christian. Though never a member of the Communist Party he subscribed to its ideals, and in the later 1930s especially was much concerned with the idea of 'Music for the People'.
List of compositions
Symphonies
- Symphony in A major (1893–1908, abandoned)[7]
- Symphony No. 1, Op. 57bis (orchestral version, 1926, of String Quartet No. 2)
- The Seven Stars Symphony, Op. 132 (1933)
- Symphonie d’Hymnes (1936) [cycle of previously composed independent movements]
- Symphony No. 2, Op. 196 (1943–44)[8]
Symphonic poems
- La Forêt, Op. 25 (1897–1906) &, Op. 29 (1896–1907)
- Nuit de Walpurgis classique, Op. 38 (1901–1916)
- Soleil et danses dans la forêt, Op. 43 No. 1 (1908–11)
- Vers la plage lointaine, nocturne, Op. 43 No. 2 (1908–1916)
- Le Printemps, Op. 47 No. 1 (1908–11)
- L'Hiver, Op. 47 No. 2 (1908–10 orch 1916)
- Nuit de Juin, Op. 48 No. 1 (1908–11 orch 1916)
- Midi en Août, Op. 48 No. 2 (1908–11 orch 1916)
- La Course de printemps, Op. 95 (1908–25) (Jungle Book Cycle)
- Vers la Voûte étoilée, Op. 129 (1923–33)
- Sur les flots lontains – poème symphonique sur un chant de C.M. Urner, Op. 130 (1933)
- La Méditation de Purun Bhaghat, Op. 159 (1936) (Jungle Book Cycle)
- La Cité nouvelle, rêve d’avenir, Op. 170 (1938; after H.G. Wells)
- La Loi de la Jungle, Op. 175 (1939–40) (Jungle Book Cycle)
- Les Bandar-log, Op. 176 (1939–40) (Jungle Book Cycle)
- Le Buisson ardent, Opp. 203 (1945) & 171 (1938)
- Le Docteur Fabricius, Op. 202 (1941–44, orch 1946)
Other orchestral works
- En rêve, Op. 20 No. 1 (1896–1900)
- Au loin, Op. 20 No. 2 (1896–1900)
- L’Automne, symphonic suite, Op. 30 (1896–1906)
- Études Antiques, Op. 46 (1908–10)
- Suite légendaire, Op. 54 (1901–15)
- 5 Chorals dans les modes du moyen-age, Op. 117 bis (1931 orch. 1932)
- Fugue Symphonique ‘Saint-Georges’, Op. 121 (1932)
- L’Andalouse dans Barcelone, Op. 134 (1933)
- Les Eaux vives – music for 1937 Paris Exposition Universelle, Op. 160 (1936)
- Victoire de la vie, Op. 167 (1938 – score for film by Henri Cartier)
- Offrande musicale sur le nom de BACH, Op. 187 (1942–46)
- Partita for chamber orchestra, Op. 205
- Introduction et 4 Interludes de style atonal-sériel, Op. 214 (1947–48)
Solo instrument and orchestra
- 3 Chorals for organ and orchestra, Op. 49 (1909–16)
- Ballade for piano and orchestra, Op. 50 (1911–19) (also for solo piano)
- Poème for horn and orchestra, Op. 70 bis (1927 orch of Horn Sonata)
- 2 Sonatas for clarinet and chamber orchestra, Opp. 85 bis & 86 bis (1946 arrs. of sonatas for clarinet and piano)
- 20 Chansons bretonnes for cello and orchestra, Op. 115 (1931–32) (arrs of 20 Chansons bretonnes for cello and piano)
- Silhouettes de Comédie for bassoon and orchestra, Op. 193
- 2 Sonatines for oboe d’amore and chamber orchestra, Op. 194 (1942–43)
Wind band
- Quelques chorals pour des fêtes populaires, Op. 153 (1935–36)
Chamber music
- Deux Nocturnes for flute, horn and piano, Op. 32bis (1897-1907)
- 1. Venise (Andante con moto)
- 2. Dans la forét (Adagio)
- Trois Pièces for bassoon and piano, Op. 34
- String Quartet No. 1, Op. 51 (1911–13)
- Sonata, flute and piano, Op. 52 (1913)
- Sonata, viola and piano, Op. 53
- Suite en quatuor pour flûte, violon, alto et piano, Op. 55 (1911–1916)[9]
- String Quartet No. 2, Op. 57 (1911–15) [see also Symphony No. 1]
- Sonata, oboe and piano, Op. 58 (1911–16)
- Sonata, violin and piano, Op. 64 (1915–16)
- Paysages et Marines for chamber ensemble, Op. 63 (1915–16) [also arr. for piano solo]
- Sonata, cello and piano, Op. 66 (1917)
- Sonata, horn and piano, Op. 70 (1918–25)
- Sonata, bassoon and piano, Op. 71 (1918–1919)
- String Quartet No. 3, Op. 72 (1917–21)
- Sonata, 2 flutes, Op. 75 (1920)
- Sonata No. 1, clarinet and piano, Op. 85 (1923)
- Sonata No. 2, clarinet and piano, Op. 86 (1923)
- Trio for flute, clarinet and bassoon (or violin, viola and violoncello) (1927)
- Piano Quintet, Op. 80
- 20 Chansons bretonnes for cello and piano, Op. 115 (1931–32)
- L’Album de Lilian (Book I) for soprano, flute, clarinet, piano, Op. 139 (1934)
- L’Album de Lilian (Book II) for flute, piano, harpsichord, Ondes Martenot, Op. 149 (1935)
- Sonatine modale for clarinet and flute, Op. 155 (1935–36)
- Quintet No. 1 for flute, harp and string trio Primavera, Op. 156 (1936)
- 14 Pièces for flute and piano, Op. 157b (1936)
- Épitaphe de Jean Harlow for flute, alto saxophone and piano, Op. 164 (1937)
- Septet for wind instruments, Op. 165 (1937)
- 14 Pièces for clarinet and piano, Op. 178 (1942)
- 14 Pièces for oboe and piano, Op. 179 (1942)
- 15 Pièces for horn (or saxophone) and piano, Op. 180 (1942)
- 15 Études for saxophone and piano, Op. 188 (1942–44)
- 12 Monodies[clarification needed] for Instruments, Op. 213 (1947)
- First and Second for flute
- Third and Fourth for oboe
- Fifth and Sixth for clarinet
- Seventh and Eighth for bassoon
- Ninth for alto saxophone
- Tenth for trombone
- Eleventh for trumpet
- Twelfth for horn
- Sonate à sept for flute, oboe, harp and string quartet, Op. 221
- Morceau de lecture pour la flûte, Op. 218 (1948)
- Quintet No. 2 for flute, harp and string trio Primavera II, Op. 223 (1949)
- Stèle funéraire for flute, piccolo and alto flute, Op. 224 (1950)
- Motets de style archaique, 15 pieces for various instruments, Op. 225 (1949)
Instrumental music
- Sonate für Oboe und Klavier, Op. 58
- 5 Sonatines for piano, Op. 59 (1915–16)
- 4 Sonatines Françaises for piano duet, Op. 60 (1919) [also version for orchestra]
- Paysages et Marines for piano, Op. 63 (1915–16) [also arr. chamber ensemble]
- Les Heures persanes, 16 pieces for piano, Op. 65 (1913–19) [also orchestral version]
- 12 Pastorales for piano, Op. 77 (1916–20)
- 4 Nouvelles Sonatines françaises for piano, Op. 87 (1923–24)
- L’Ancienne Maison de campagne for piano, Op. 124 (1923–33)
- Danses pour Ginger Rogers for piano, Op. 163 (1937)
- Vers le soleil – 7 monodies for Ondes Martenot, Op. 174 (1939)
- Suite for cor anglais, Op. 185 (1942)
- Les Chants de Nectaire, 96 pieces for flute solo in 3 series, Opp. 198, 199 & 200 (1944)
- 15 Préludes for piano, Op. 209 (1946)
- Le Repos de Tityre for oboe d’amore solo, Op. 216
Choral works
- L’Abbaye, Suite religieuse for soli, chorus and orchestra, Opp. 16 & 42 (1908)
- 3 Poèmes for soli, chorus and orchestra, Op. 18 (Jungle Book Cycle)
- Chant funèbre à la mémoire des jeunes femmes défuntes for chorus and orchestra, Op. 37 (1902–08)
- Chant pour Thaelmann for choir and piano or wind band, Op. 138 (1934)
- Requiem des pauvres bougres for chorus, orchestra, piano, organ and Ondes Martenot, Op. 161 (1936–37)
Songs
- Rondels, Set I, Op. 1 (1890–95)
- 4 Poèmes d’Edmond Haraucourt, Op. 7 (1890–97)
- Rondels, Set II, Op. 8 (1891–96)
- Poèmes d’automne, Op. 13 (1894–99)
- Rondels, Set III, Op. 14 (1896–1901)
- 3 Mélodies, Op. 17 (1895–1900)
- 2 Poèmes d’André Chénier, Op. 23 (1900–02)
- 6 Mélodies sur des poésies d’Albert Samain, Op. 31 (1902–06)
- 5 Chansons de Bilitis, Op. 39 (1898–1908)
- 5 Mélodies sur des poèmes de ‘Shéhérazade’ de Tristan Klingsor Series I, Op. 56 (1914–16)
- 8 Mélodies sur des poèmes de ‘Shéhérazade’ de Tristan Klingsor Series II, Op. 84 (1922–23)
- 7 Chansons pour Gladys, Op. 151 (1935)
See also
References
Citations
- ^ Koechlin, quoted in the BBC film biography, The Tower of Dreams.
- ISBN 978-0-7546-3331-0. Retrieved 6 January 2011.
- ^ "Collection Guide". Retrieved 6 January 2011.
- ^ Orledge, p. 16
- ^ Koechlin, Charles. "Traité de L'orchestration" (PDF). Retrieved 21 August 2018.
- ISBN 0-07-038275-1.
- ^ Orledge, page 76. "Koechlin's four-movement Symphony in A occupied him intermittently between October 1893 (when it began as a piano quartet) and July 1908 (when he finally abandoned it).
- ^ Orledge, pp. 196-200.
- ^ BNF entry describing autograph sketches of all 4 movements of the Suite en quatuor with dates from June 1911 to August 1916
Sources
- ISBN 978-3-7186-0609-2.
Further reading
- JSTOR 738207.
- Myers, Rollo H. (July 1965). "Charles Koechlin: Some Recollections". JSTOR 732238.
- JSTOR 766101.
- ISBN 978-1-56159-263-0. (subscription or UK public library membershiprequired)
- Rothstein, Edward (3 June 1984). "A Composer Inspired by Movies". The New York Times.