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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.
1937 : H 111 Prelude á la Mort de Jaurès from the show Liberté, in collaboration with Arthur Hoérée, lost 1937 : H 119a Two songs from the La construction d'une cité 1941 : H 146 La Mandragore 1941 : H 147 L'ombre de la ravine 1941 : H 149 Les suppliantes 1941 : H 150 800 meters, lost 1941 : H 151 La ligne d'horizon 1943 : H 163 Pasiphaé
Honegger's symphony, which contains musical quotations from two Basel folk songs, expresses the composer's happiness during a pleasant stay in the Swiss countryside after the end of World War II. [2] Despite the pastoral and often joyous mood throughout much of the symphony, the closing minutes include some tragic or more serious elements.
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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From 1952 to 1968, René Le Roy was a solo flute at the New York City Opera Orchestra, and until 1971 he was a chamber music teacher at the Conservatoire de Paris. Among his students were Christine Alicot, Juho Alvas, Thomas Brown, Susan Morris DeJong, Geoffrey Gilbert and Bassam Saba.
Les nuits de la Main : Cent ans de spectacles sur le boulevard St-Laurent (1891–1991) [Nights on the Main: One hundred years of shows on boulevard St-Laurent (1891–1991)] (in French). Weintraub, W. (1998). McClelland & Stewart Inc. (ed.). City Unique : Montreal Days and Nights in the 1940s and 1950s. Toronto.
The piece is the first in Honegger's series of three symphonic movements. The other two are Rugby and Mouvement Symphonique No. 3. Honegger lamented that his "poor Symphonic Movement No. 3 paid dearly for its barren title". [2] Critics generally ignored it, while Pacific 231 and Rugby, with more evocative titles, have been written about in depth.