Charles Koechlin
Charles Louis Eugène Koechlin [ʃaʀl lwi øˈʒɛn kœˈklɛ̃] (* 27. November 1867 in Paris; † 31. December 1950 in Le CAN aristocracy, Département Var). French composer, as a child of elsässischer parents 1867 in Paris born, composition pupils of Jules Massenet and Gabriel Fauré, gets used to among other things with Debussy, Eric Satie, Ravel, Darius Milhaud and Romain roll and. Extensive work: Songs with piano or orchestra, piano works, chamber music, orchestra works. When music theoretician and author of text books over harmony, counterpoint and Orchestration left themselves high-estimated, by films of the 1930er years to independent compositions to inspire. Its Orchestrationskunst captivates by its clarity and spatial depth; Koechlin is „a master of the smallest transition “in the range of the orchestra colors; it was a human spirit, which always understood it during a long life to retain its independence and liberty. Charles Koechlin died 83-jährig to 31. December 1950 in its house in Le CAN aristocracy, which was because of the Mediterranean.
Koechlins compositions push this for some years on an increasing interest of the musical public, not least by since 2001 - in co-operation of SWR Stuttgart and its radio symphony orchestra with the conductor Heinz Holliger as well as with Hänssler Classic and archives Charles Koechlin (Kassel) - produced the series of CD publications.
Table of contents |
lives
Charles Koechlin became to 27. November 1867 in Paris born, it came of to a family of inventors, engineers, Industriellen and artists, branched out far, who resided over centuries in the elsässischen Mulhouse. Already very early he had come with music into contact. The piano play of the older sister energized his childlike fantasy. First composition attempts undertook it as fifteen-year one, regular concert and opera attendance opened for it the music of Gounod, Berlioz, Saint Saëns, Franck, Bizet, Massenet, Wagner or Chopin. A performance of brook fair in h-Moll and - in the year 1884 - a concert of the Russian pianist Anton ruby stone with Chopins Sonate in b-Moll left lasting impression. However Koechlin came only on detours to the resolution to make the music to its occupation. He saw a consequence of lucky adding in the misfortune differently said in its life „, or: the events turn finally nevertheless to my favour. “The crucial switch position of its life agitated from such misfortune: Koechlin had to be study at that Paris École Polytechnique, which planned a civilian engineer career, because of a life-threatening Tuberkulose in the year 1888 to interrupt. By two mehrmonatige in each case Algeria stays it knew the illness out couriers. Due to the long interruption worsened its classification to the École Polytechnique however substantially, a circumstance, which would have refused it the civilian profession and would have left only the choice between artillery or naval officer career. A military career was hardly conceivable for Koechlin, and so it terminated 1889 its training as „Polytechnicien “.
Koechlin describes the way to its decision for the music in such a way: „Now I was thus free. I visited Charles Lefebvre [French composer, 1843-1917] and showed it my orchestra song Clair de lune, which I had terminated straight; it was impressed of it quite and gave themselves private hours in counterpoint. “In the process of the yearly 1891 Koechlin wrote itself as a student at the Paris Conservatoire. It occupied harmony teachings and counterpoint with Antoine Taudou and with André Gédalge, 1892 took place the admission into the composition class from Jules Massenet. With Louis Bourgault Ducoudray he heard lectures, among other things over Wagner. it created 1909 together with Gabriel Fauré, Maurice Ravel and Florent Schmitt the Societé Indépendante de Musique (S.I.M.). Not only in the Viennese circle around Arnold beautiful mountain, but also at the generation between 1860 and of the 1880 born French composers had extended the experience of the complex, any longer not dissolved dissonances in Wagners Tristan or in the ring of the Nibelungen the horizons: a lasting impulse, which should lead forward of turned composing around the turn of the century on completely different ways to leaving the secured terrain of the tonality. To the composition class Massenet, which were taken over 1896 by Gabriel Fauré, belonged to Florent Schmitt, Reynaldo cock, the still completely young George Enescu and Maurice Ravel beside Koechlin also. The departure tendency prevailing at that time describes Koechlin in its recordings already quoted: „There were there completely unusual views, similarly opening to a window to the mysterious world of the tones or the discovery journeys to an unexplored jungle comparably. Exactly the same the music of the future presented itself for us. These insights, this desire for infringement of the old rules, these new sound discoveries we found with Franck, Chabrier and with Fauré, above all however with one already strange mysteriösen to colleagues, whom Florent Schmitt and Ernest Le Grand lifted into the sky: Claude Debussy. I could do, in order to be exactly, from him nearly nothing, when I became pupil of Taudou, only [the 1890 published song] Mandoline. But this ‚nearly nothing' was very much; in this song it gives at the beginning a few modulating chords, which opened all kinds of modulation possibilities for me. Sometimes only one clock of an ingenious colleague is sufficient, in order to open for us the gate to the bewitched gardens, in which we may picking then perhaps completely different flowers than it. “.
Koechlins various sources of inspiration reach Les Parnassiens to the poetry of the French group from poems of the antique ones, „“ over Heinrich Heine up to Kiplings jungle books, from a novella of his uncle, the philosopher Charles Dollfus (Le Docteur Fabricius OI. 202) over Romain roll and (Le Buisson OI ardent. 203/171) up to the films of the 1930er years. In the period from 1890 to 1908 vowel compositions stand completely in the foreground of its kompositorischen work. They do not show the need to place or surprisingly connect very distant kinds of clay/tone against each other, a large liberty of the modulation and the use any longer more dissolved reproach and dissonances as well as parallel led Nonenakkorde. Thus Koechlin is opened new sound worlds, which are characterized by the large breath of widespread lines and by filigrane Harmonik. Its singular Orchestrationstechnik has by mixture and combination of the instruments inexhaustible gradations and colors. An added Streicherflageolett manufactures the perfect balance, a deep piano clay/tone lends to the soft beginning of the retort basses the necessary outline. This various mixing technology from the charm workshop of the Klangalchimisten Koechlin the concise transparency of its orchestra works owes itself. Its Farbpalette is enough to up to nearly painful-dazzling brightness from the deepest, nevertheless clearly outlined darkness. Impressing thereby the spatialness and the multiple perspectives of the Klangbilds are.
Polytonalität (the simultaneousness and layering of distant chords and kinds of clay/tone) and Atonalität (the Harmonik and Melodik any longer not basicclay-referred) are starting from 1910 Koechlins preferred style means. Such tendencies and procedures can be observed already in its early orchestra songs from the years 1892 to 1906, for a long time before them around 1915 the term and label became. In one of its most fruitful creative periods developed between 1910 and 1921 approximately 50 works, primarily piano and chamber music. With the piano cycle Les Heures of persanes OI. 65 (1913-19; Orchestra version 1921) and the Quintette pour piano et cordes OI. to 80 (1908-21) Koechlin belongs to the avant-garde of the French composers of that time. First practical necessities determined further orientation: By private training activity and intensive music-literary work Koechlin secured the own material existence and those for its family. From this training activity founded school works followed, those also the handicraft, primarily however the musi potashty and the creativity of the learning to develop to want. Under Koechlins pupils were among other things Francis Poulenc and Henri Sauguet.it received a training order at the University OF California in Berkeley to 1928, 1929 receives it the Hollywood Bowl price.
Into the 1930er years left itself Koechlin by the early Tonfilm charms. However it contributed hardly film music, on the contrary film experiences inspired it to independent compositions, for example to The Seven of star' Symphony OI. 132. One 1932 into of Paris organized festival, with orchestra works Koechlins - among other things La Course de printemps OI. 95 as premiere - under the direction of Roger Désormière were played, brought it large acknowledgment, but not the hoped for break-through. The beginning 2. World war experienced the left human Koechlin as incomprehensible disaster: Its kompositorisch creative inspiration came starting from at the end of of 1939 for over two years completely to succumbing. In this time he dedicated himself de l to the completion of his four-restrained Traité' orchestration. With the orchestra composition edge of off of musicals sur le nom de BROOK OI. it took 187 at the beginning of the yearly 1942 its composition work. The two last life decades brought altogether a rich harvest of orchestra works. 1949 were lent to it of the Société of the Auteurs of the Grand Prix de la Musique française. To 31. December 1950 died Charles Koechlin in its house in Le CAN aristocracy in the French Département Var, which was because of the Mediterranean.
works
the composition style Koechlins extracts itself from a simple categorization. It flared between impressionistischen and expressionistischen characteristics and seizes on old techniques (like kinds of church clay/tone) just as back as about on modern means, Polytonalität or Atonalität.
Remarkably in its 225 Opuszahlen comprehensive work canon are frequent except-musical purchases. Often also that purely instrumentalen works literary collecting mains are the basis, then several sinfonische seals developed after the jungle book of Rudyard Kipling during one period of nearly 40 years:
- Trois of poèmes OI. 18
- La course de printemps (the spring run) OI. 95
- La méditation de Purun Bhagat OI. 159
- La loi de la jungle (German: The law of the jungle) OI. 175
- Les volume acre log OI. 176
in the 1933 composed, 7-sätzigen Seven of star Symphony OI. 132 set it sieve filming acre a sounding monument (Douglas fair bank, Lilian Harvey, Greta Garbo, Clara Bow, Marlene Dietrich, Emil Jannings and Charlie Chaplin).
Beside numerous, colored instrumented orchestra works (partly using Ondes March emergency) Koechlin composed among other things also songs and chamber music in various occupation.
list of works (incomplete)
orchestra works
- livre de la jungle: Trois of poèmes op.18 (1899-1901; instr. 1903/04)
- Outer one loin (from the distance), sinfon. Sentence op.20 (1896/1900)
- L'automne op.30 (1896-1906)
- 2 Poèmes of symphoniques op.47 (1910-12)
- L'été op.48 (1910-12)
- symphony Nr.1 op.57 (1916)
- livre de la jungle: La course de printemps op.95 (1925-27)
- verse la concrete haunch etoilée (to the stars) op.129
- Sur of les flots lointains op.130 (2. Version: for orchestras and caper orchestras; 1933)
- Seven of star Symphony op.132 (1933)
- livre de la jungle: La méditation de Purun Bhagat op.159 (1936)
- Le buisson ardent, part of 2 op.171 (1938)
- livre de la jungle: La loi de la jungle op.175
- livre de la jungle: Les volume acre log op.176
- edge of off of musicals sur le nom de BROOK op.187
- symphony Nr.2 op.196 (1943)
- Le Docteur Fabricius op.202 (1941-44)
- Le buisson ardent, part of 1 op.203 (1945)
solo instrument and orchestra
- 3 Chorals f. Organ and. Orch. op.49 (1920/21)
- Ballade f. Piano and orchestra op.50 (1913)
- Silhouettes de comédie f. Bassoon and. Orch. op.193
blowing orchestra
- 20 of sonneries pour trompes de chasse (consequence 1) op.123 (1932)
- 20 of sonneries pour trompes de chasse (consequence 2) op.142 (1935)
- Quelques choir as pour the fetes populaires
chamber music
- Sonate f. Flute and piano op.52 (1913)
- Sonate f. Viola and piano op.53 (1915)
- Suite EN quatuor f. Flute, violin, Viola and piano op.55
- Sonate f. Oboe and piano op.58 (1911/16)
- Sonate for violin and piano op.64
- Sonate f. Horn and piano op.70 (1918/25)
- Sonate f. 2 flutes op.75 (1920)
- Klavierquintett op.80 (1921)
- Divertissement f. 3 flutes op.90
- Trio f. 2 flutes and clarinet op.91
- Trio f. Flute, clarinet and bassoon op.92
- 20 Sonneries OI. 123 f. Horn of solo
- 4 pieces of f. Flute and piano (L'Album de Lilian, 2. Consequence), op.149 (1935)
- Sonneries op.153b f. Horn solo
- Sonatine f. Flute and clarinet op.155
- Quintett “Primavera” (flute, harp, strike ago) op.156
- of 14 pieces for flute and piano op.157b (1936)
- Epitaphe de Jean Harlow (flute, clarinet, saxophone) op.164
- of 14 pieces of f. Oboe (Engischhorn) and piano op.179
- of 15 pieces of f. Horn and piano op.180 (1942)
- 3 Sonatinen f. Flute solo op.184 (1942)
- Suite f. English horn solo op.185
- Duos f. 2 saxophones op.186
- 2 Sonatinen f. Oboe d'amore, flute, clarinet, harp and. Streichsextett op.194
- Les chants de Néctaire OI. 198 f. Flute solo
- Bläsertrio op.206
- monoserve f. English horn od. Oboe d'amore op.216
- Morceau de lecture f. Flute and piano op.218 (1948)
- Sonate à 7 (oboe, flute, harp and caper quartet) op.221
- Stèle Funéraire f. Flute (Picc., flat steel bar., Altfl.)
- Sonatine modale f. Flute and clarinet
- Morceau de lecture f. Horn solo
- Sonneries o.op. f. Horn of solo
piano works
- Suite f. 2 pianos op.6 (1896)
- Suite f. Piano 4-händig op.19 (1900)
- NOC-does gymnastics chromatique op.33
- 24 Esquisses op.41 (1905-15)
- 12 Esquisses op.47
- 5 Sonatinen op.59
- 4 Sonatines of françaises op.61a (1919/20), parties for piano
- 4-händig op.60 (1919) 64 Exercises à deux
- , L´école you jeu lié op.61b (1919/20)
- 10 Petits of pièces faciles op.61c (1919/20)
- 12 Petits of pièces faciles op.61d (1919/20)
- Paysages et marine, 12 pieces of op.63 (also in orchestra version; 1917/1950)
- Les of heures persanes, 16 pieces of op.65 (1916-19)
- 12 Pastorales op.77 (1920)
- 4 Nouvelles Sonatines op.87 (1923/24)
- L'ancienne maison de campagne, 12 pieces of op.124 (1932/33)
- Le Portrait de Daisy (Hamilton) f. Piano 4-händig op.140 (1934)
- La barks traversée, 3 pieces of op.162 (1937)
- Danses pour Ginger f. Piano 4-händig op.163
- Les chants de Kervelean, 6 pieces of op.197 (1943)
- 12 Petits of pièces faciles op.208 (1946)
- 15 Préludes op.209 (1946)
organ works
- 3 Sonatinen OI. 107
- 10 of thèmes pour improvisation OI. 192 (1943)
- Adagio OI. 201 (1944)
- Adagio OI. 211 (1947)
singing
- of songs OI. 1 (Rondels de Th. de Banville)
- songs OI. 5 (1894)
- songs OI. 7 (1895)
- songs OI. 8 (Rondels de Th. de Banville)
- songs OI. 13 (1894)
- songs OI. 22 (1901)
- songs OI. 31 (Samain)
- songs OI. 35
- songs OI. 68
- L'Album de Lilian (1. Consequence) f. Flute, piano and singing OI. 139 (1934)
- songs OI. 151 (7 chansons pour Gladys)
choir
- La fin de l'homme OI. 11 (1895)
- La lamp you ciel OI. 12 (1896)
- L'Abbaye, Suite réligieuse f. Choir and organ OI. 16
- 15 motets de style archaique OI. 225
Web on the left of
- work introduction C. Schlüren (dt.)
- biography, time board (fr)
- biography, genealogy, CD discussions (fr)
| person data | |
|---|---|
| NAME | Koechlin, Charles |
| ALTERNATIVE NAME | |
| SHORT DESCRIPTION | French composer |
| DATE OF BIRTH | 27. November 1867 |
| PLACE OF BIRTH | Paris |
| DYING DATE | 31. December 1950 |
| DYING PLACE | CAN aristocracy Var (Département) |
