 | Gottschalk, Louis Moreau - "Morte! Lamentation" for Flute & Strings Opus 60 Flûte et quintette à cordes |
VoirPDF : "Morte! Lamentation" (Opus 60) for Flûte & Strings (14 pages - 275.7 Ko)125x⬇ VoirPDF : Conducteur complet (144.79 Ko) VoirPDF : Violon 2 (69.59 Ko) VoirPDF : Violon 1 (73.2 Ko) VoirPDF : Bass (58.22 Ko) VoirPDF : Violoncelle (58.12 Ko) VoirPDF : Alto 2 (65.52 Ko) VoirPDF : Flûte (80.12 Ko) VoirPDF : Alto 1 (67.09 Ko) MP3 : "Morte! Lamentation" (Opus 60) for Flute & Strings 20x⬇ 304x
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| Compositeur : | Gottschalk, Louis Moreau (1829 - 1869) | ||||
| Instrumentation : | Flûte et quintette à cordes | ||||
| Genre : | Classique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Copyright © Mike Magatagan | ||||
| Ajoutée par magataganm, 19 Jun 2020 Louis Moreau Gottschalk (1829 – 1869) was an American composer and pianist, best known as a virtuoso performer of his own romantic piano works. He spent most of his working career outside of the United States. He was the eldest son of a Jewish-English New Orleans real estate speculator and his French-descended bride. Gottschalk may have heard the drums at Place Congo in New Orleans, but his exposure to Creole melody likely came through his own household; his mother had grown up in Haiti and fled to Louisiana after that island's slave uprising. Piano study was undertaken with Narcisse Lettellier, and at age 11, Gottschalk was sent to Paris. Denied entrance to the Conservatoire, he continued with Charles Hallé and Camille Stamaty, adding composition with Pierre Maleden. His Paris debut at the Salle Pleyel in 1845 earned praise from Chopin. By the end of the 1840s, Gottschalk's first works, such as Bamboula, appeared. These syncopated pieces based on popular Creole melodies rapidly gained popularity worldwide. Gottschalk left Paris in 1852 to join his father in New York, only to encounter stiff competition from touring foreign artists. With his father's death in late 1853, Gottschalk inherited support of his mother and six siblings. In 1855, he signed a contract with publisher William Hall to issue several pieces, including The Banjo and The Last Hope. The Last Hope is a sad and sweetly melancholy piece, and it proved hugely popular. Gottschalk found himself obliged to repeat it at every concert, and wrote "even my paternal love for The Last Hope has succumbed under the terrible necessity of meeting it at every step." With an appearance at Dodsworth Hall in December 1855, Gottschalk finally found his audience. For the first time he was solvent, and at his mother's death in 1857 Gottschalk was released from his familial obligations. He embarked on a tour of the Caribbean and didn't return for five years. When this ended, America was in the midst of Civil War. Gottschalk supported the north, touring Union states until 1864. Gottschalk wearied of the horrors surrounding him, becoming an avid proponent of education, playing benefit concerts for public schools and libraries. During a tour to California in 1865, Gottschalk entered into an involvement with a young woman attending a seminary school in Oakland, and the press excoriated him. He escaped on a steamer bound for Panama City. Instead of returning to New York, he pressed on to Peru, Chile, Uruguay, and Argentina, staying one step ahead of revolutions, rioting, and cholera epidemics, but he began to break down under the strain. Gottschalk contracted malaria in Brazil in August 1869; still recovering, he was hit in the abdomen by a sandbag thrown by a student in São Paolo. In a concert at Rio de Janeiro on November 25, Gottschalk collapsed at the keyboard. He had appendicitis, which led to peritonitis. On December 18, 1869, Gottschalk died at the age of 40. Morte!!, Gottschalk's swan song, was first played in public on June 9, 1868, at a private dinner held at the Hotel de la Louvre in Buenos Aires, Argentina. In an Argentine newspaper, El Pueblo, Gottschalk was quoted as saying that "Morte is a little piece that I have just now begun to play, but I have never played in public, nor will I." Gottschalk further explained that "it is the piece that I love most, because I want it for myself." Morte!! is a short piano piece that bears programmatic information indicating a funeral scene. A deceased woman is carried to the place of burial in a cortege, a funeral bell tolls, and the body is laid to rest. In an 1868 article that originated with a Buenos Aires newspaper, a writer pseudonymously named Walsh reports as hearsay a more personal motive for the composition of the work. According to this report, the work was inspired by news Gottschalk had received from San Francisco of the early death of a woman he had loved. She was an "admirer" and the daughter of a "commanding father," and when their liaison was discovered, Gottschalk was forced to flee. The story appears in one other contemporary source, although additional, perhaps equally scandalous explanations for Gottschalk's abrupt departure from San Francisco in 1865 are known. Writing to his sisters, who were concerned about the news piece, Gottschalk replied, "This (situation) is embarrassing. I think that Walsh has drawn upon his own imagination to write this little article. But where there's smoke, there's fire. ..." Gottschalk reconsidered his position about not playing Morte!! in public, and soon he was writing excitedly that women at his concert appearances were swooning at the sound of it. In October 1869, Gottschalk sent the manuscript off to his publishers, Hall & Son, along with that of Pensée Poétique and a note that read, "Morte, played by me, never misses a success of tears." On November 25, 1869, at a concert in Rio de Janeiro, Gottschalk played Morte!!, following it with his Tremolo; during the latter piece Gottschalk collapsed and had to be carried off to his hotel, where he died three weeks later. As reports of Gottschalk's death unfolded throughout the world, the order of the pieces played at his final concert somehow was changed, and the legend began that it was during Morte!! that Gottschalk suffered the fatal blow. It's a story that still persists in many sources relating to Gottschalk's life, yet an eyewitness to the event confirms the less dramatic ordering. Although it was heard at all of the various memorial observances for Gottschalk worldwide, Morte!! never caught on in the United States, where it was regarded as a morbid curiosity. However, Morte!! remains one of Gottschalk's most famous compositions in South America, where it is regarded as equal in drama and pathos to Chopin's celebrated Funeral March. Source: AllMusic (https://www.allmusic.com/artist/louis-moreau-g ottschalk-mn0001767715/biography). Although originally composed for Piano, I created this interpretation of "Morte! Lamentation" (Opus 60) for Flute & Strings (2 Violins, 2 Violas, Cello & Bass). Partition centrale : | Morte!! (3 partitions) | | |||
