Andrey de Markov
See also: Honegger
Arthur Honegger is a Compositeur Suisse, Parisian of adoption (although it preserved all its life the nationality Swiss), born with the Havre the March 10th 1892 and died in Paris the November 27th 1955.
Biography
In 1911, two years after being itself registered with the Academy of Zurich, Honegger leaves it for the Conservatoire of Paris, in which he studies the Violon and meets Darius Milhaud and Jacques Ibert. He is pupil of Charles-Marie Widor and Vincent d' Indy. In 1918, it leaves the Academy while having already composed of the melodies, its first Quatuor and a Symphonic poem, the Song of Nigamon .Very attached to the revival of the repertory, it is influenced by Igor Stravinski, on which it writes a test in 1939. Type-setter prolific and eager to illustrate the transformation of the company, in particular by the Technical or the Sport, Honegger written for the Theater, the radio and the Cinema as well as for the concert hall: Ballet S, songs, Concerto S, Chamber music, film musics, opera S, Oratorio S, Symphony S.
In 1921, it is success with the King David , part of Rene Morax, which it transforms into oratorio in 1924. Its most famous work, created in 1923, is Pacific 231 , first of three movements symphonic and dedicated to the Locomotive with vapor éponyme. The two other movements of the triptych are entitled Rugby and symphonic Mouvement n° 3 . During the Occupation, refusing to leave Paris, it reacts to the degradation of the international situation by writing its Three Poems of Claudel, the Three Psalms and its Symphonie n° 2 for string orchestra and trumpet AD libitum . Composed in 1941, its movements evoke death, mourning, then the release. Its Symphony n° 3 , entitled liturgical , its oratorio Jeanne d' Arc with roughing-hew (1938) - according to a text of Paul Claudel - and its dramatic King David (1921) - initially intended for the theater and transformed into oratorio in 1924 - underline the religiosity of this Protestant type-setter. Among its works which counted the most for him, it quoted also Antigone (1926).
In 1926 Arthur Honegger had a son of the singer of opera Claire Croiza but they did not marry.
In 1953, he becomes member of the Académie and is named Grand Officer of the Légion of honor the following year. In addition to the composition, it was musical Critique and professor with the Teacher training school of Music of Paris. It is also one of the members of the group of the Six, with Georges Auric, Louis Durey, Darius Milhaud, Francis Poulenc and Germaine Tailleferre. In addition to the Six, he attended Paul Claudel, Jean Cocteau, max Jacob, Pierre Louÿs, Pablo Picasso, Erik Satie and Paul Valéry, of which some provided him subjects for its works.
Its style
Arthur Honegger is a type-setter who, with the first access, appears difficult to encircle because of the diversity of his work, energy of the Tonalité to the Atonalité (for Antigone ) while passing by the Polytonalité, using all the registers, of the String quartet with the opera, and respecting the assets of the past as much that the contributions of his contemporaries. All its life, it was marked by the double Germanic influence (Ludwig van Beethoven, Jean-Sebastien Bach, max Reger) and Frenchwoman (Claude Debussy, Florent Schmitt), which contributes to locate its work in margin of the musical currents. If one can allot a personal style to him, it is not on the other hand of any school; itself having rejetté, like its fellow-member and friendly Georges Enesco, too strict systems of classification in music.The diversity of the music of Honegger reflects its will to make music a means of expression to humanistic vocation. Thus, he often aspired to a music demolished of too many formalism, too many seduction and practices ( Cri of the world , 1931). The fear of a surmediatisation of the music is recognized in its search for a music authentic, able to carry a message, sometimes philosophical ( liturgical Symphonie , 1945). Eager to renew itself with each work, it explored various kinds and techniques while being interested as much in the harmony of Claude Debussy, in rhythmic of Igor Stravinski, in the form Beethoven ienne, the genius of Arnold Schönberg (by excluding the Sérialisme) and even in the electronic music.
The apparent simplicity of certain passages of its music must be examined in the direction of objectivity. It did not feel reluctant with complexity when that seemed necessary to him, as in Horace Victorieux (1926) or in its symphonies. Like other artists of its time, such Albert Camus, it seeks to move, in particular through religious works whose range exceeds the framework of the religion, which explains the success of Jeanne d' Arc with roughing-hew (1935) inter alia.
Known for its humanism, it sometimes put forth severe judgments but never during its work of criticism. On the contrary, it helped the type-setters of the following generations such as Olivier Messiaen, of which it confirmed after his first listening that it would be “one of the largest type-setters of its time”.
Principal works
- orchestral Music :
- 1930 : Symphony n°1
- 1941: Symphony n°2, for trumpet and string orchestra AD libitum
- 1946: Symphony n°3, liturgical
- 1946: Symphony n°4, Deliciae basiliensis
- 1950: Symphony n°5, Di tre Re
- 1941: Symphony n°2, for trumpet and string orchestra AD libitum
- 1923 : symphonic Movements n°1, Pacific 231
- 1928:
Movements symphonic n°2, Rugby- 1933:
Movements symphonic n°3
- 1924 : Concertino for piano and orchestra
- 1929:
Concerto da camera, for flute, cor anglais and string orchestra- 1948:
Concerto for violoncello
- 1917 : Prelude for Aglavaine and Sélysette
- 1917:
Song of Nigamon- 1920:
Pastoral of summer- 1921:
victorious Horace , Symphony mimée- 1923:
Prelude for the Storm , according to the work of Shakespeare- 1923:
Song of joy- 1936:
Night- 1938:
Allegretto- 1942 :
Dam- 1951:
Monopartita- 1951 :
antiquated Continuation- 1951:
Toccata on a topic of Campra- 1953:
a Cantata of Christmas- ???? :
Ride- ???? :
Pathetic- ???? :
Serenade with Angelica
- 1917: String quartet n° 1 in minor C
- 1935:
String quartet n° 2 in D- 1937:
String quartet n° 3 in semi
- 1912: Sonata for violin and piano in minor D (number 0)
- 1918:
First Sonata for violin and piano in C minor sharp- 1919:
Second Sonata for violin and piano in if- 1920:
Sonata for violoncello and piano in minor D- 1920:
Sonatine for two violins in G major- 1920:
Sonata for viola and piano- 1922:
Sonatine for clarinet and piano in the- 1932:
Sonatine for violin and violoncello as a semi minor- 1940:
Sonata for violin alone in minor D
- 1920: Three Fragments extracted the Easter in New York , according to Blaise Cendrars, for soprano and string quartet
- 1926:
Three Songs of the Small Siren
- 1914: Trio in minor F for violin, violoncello and piano
- 1920:
Anthem , for dixtuor with cords- 1921:
Dance of the goat- 1934:
Small Continuation for 2 instruments and piano- 1941:
Shade of the Gully for string quartet, flute and toothing-stone- 1953:
Lovesong for flute and piano in minor ground
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Music for Piano:
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Ballet S :
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Opera S :
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Operetta S :
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Incidental music :
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radiophonic Parts :
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Film music :
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various Works :
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Books :
To discover Honegger
- victorious Horace - Prelude with the Storm - Pastoral of summer - Pacific 231 - Rugby - Mermoz by the Orchestra of Capitole of Toulouse, directed by Michel Plasson.
- Symphony n° 2, for trumpet and string orchestra AD libitum, and Symphony n° 3, known as liturgical by Herbert von Karajan and the Philharmonic orchestra of Berlin.
- Dance of dead - a Cantata of Christmas by the Chorus and the Gulbenkian orchestra, directed by Michel Corboz.
N.B. : these recordings combine the advantages of a recognized artistic quality, a technical good quality and one generous duration. However, the present suggestions reflect only the opinion of wikipedists and could not be regarded as indisputable references, as well with regard to the choice of work as that of its interpretation. Works of the second recording, which belong to the repertory, reflect the personality of the type-setter well. The Cantate of Christmas suggested in the third recording constitutes ultimate creation and is of an easy access.
The music of Honegger being very varied, we invite you to listen to other pieces.
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