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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.
1911 : H 110a Orgue dans l'église for organ, music used in Marthe Richard au service de la France, H 110 1937 : H 126a Hymne du bâtiment, music from Les bâtisseurs, H 126 1939 : H 137 Possèdes-tu, pauvre pécheur for unison chorus, harmonium or piano 1945 : H 183b Chant de la délivrance for voices and piano, music form Un Ami viendra ce soir
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 ...
Honegger collaborated with the other members of Les Six only in 1920 (with a short 'Sarabande' for L'Album des Six), and 1921 (with a 'Marche funèbre' for Les mariés de la tour Eiffel, and finally in 1952 (with a 'Toccata' for La Guirlande de Campra). Honegger's Sonata for cello and piano H. 32 composed in 1920 was premiered in 1921 by Diran ...
Jeanne d'Arc au Bûcher: 2019 Stéphane Denève: Concertgebouw Orchestra: RCO Live Le Roi David: Charles Dutoit: Bavarian Radio Symphony Orchestra: Le Roi David Michel Piquemal: 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 ...
Revolt, initially called Danse, was a modern dance solo choreographed by Martha Graham to music by Arthur Honegger. It premiered with the original title on October 16, 1927, at the Little Theatre in New York City. By February 1928 it appeared in programs as Revolt. [1]
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.
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