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Danse de la chèvre (French for Dance of the Goat) is a piece for solo flute by Arthur Honegger, written in 1921 as incidental music for dancer Lysana of Sacha Derek's play La mauvaise pensée. At the start of the piece, there is a slow dreamlike introduction consisting of tritone phrases.
1931 : H 77 Cris du monde, (Cries of the World) libretto by René Bizet 1935 : H 99 Jeanne d'Arc au bûcher, libretto by Paul Claudel, version with prologue in 1941 1938 : H 131 La danse des morts, (The Dance of the Dead) libretto by Paul Claudel 1939 : H 135 Nicolas de Flue 1953 : H 212 Une Cantate de Noël (A Christmas cantata)
He also wrote Danse de la chèvre (1921), which has become a staple in the flute repertoire. The work is dedicated to René Le Roy and written for solo flute. [11] Loie Fuller danced on three of the dances of Le Dit des Jeux du monde early in 1921. [12]
Théâtre du Jorat, Mézières, where the dramatic psalm was first performed. Original 1921 version: Honegger originally wrote his Le Roi David music for the forces that were available at Morax's Mézières village theatre group, creating a score for the resources available; a small ensemble of 16 musicians comprising: 2 flutes [1 doubling piccolo], 1 oboe [doubling cor anglais], 2 clarinets ...
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Jeanne d'Arc au bûcher (Joan of Arc at the Stake) is a mystère lyrique, or sung mystery play (a dramatic sort of oratorio), by Paul Claudel with music by Arthur Honegger. Commissioned by Ida Rubinstein , it was written in 1935, premiered in 1938 and published in 1947 after rounds of minor revisions that extended into 1944.
Orchestre de la Cité, Ile de France Regional Chorus: Naxos (USA) Une cantate de Noël: 1962 Ernest Ansermet: Orchestre de la Suisse Romande: Decca Une cantate de Noël 1971 Jean Martinon: Orchestre National de l'ORTF: Emi Classics The Tempest (prelude) 1991 Michel Plasson: Orchestre du Capitole de Toulouse: Deutsche Grammophon The Tempest ...
L'Aiglon is an opera (drame musical) in five acts composed by Arthur Honegger and Jacques Ibert.Honegger composed acts 2, 3, and 4, with Ibert composing acts 1 and 5. A 2016 reviewer described it as "a singular piece of work" with its "blend of operetta, divertissement, conversation piece, historical pageant and, in the disturbingly powerful fourth act set on the Napoleonic battlefield at ...