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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.
1929 : H 73 Berceuses pour la Bobcisco for violin, flute (or violin), trumpet (or viola), cello and piano 1932 : H 79 Prelude pour la Sous-basse (Contrabass) et Piano 1934 : H 89 Petite Suite for 2 instruments and piano 1940 : H 139 Partita for 2 pianos 1941 : H 147 L'Ombre de la Ravine for string quartet, flute and harp (The Shadow of the Ravine)
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 ...
In December 1954, he was made a "Grand Officier de la Légion d'honneur". [61] Early 1955 saw the recording of Arthur Honegger vous parle et présente son œuvre (Honegger speaks to you and presents his work; see on YouTube, in French). Arthur Honegger died in his studio, 71 boulevard de Clichy, on 27 November 1955.
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.
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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]
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 ...