 |
Vidéo :
![]()
![]()
| Composer : | Gottschalk, Louis Moreau (1829 - 1869) | ||
| Instrumentation : | Oboe, Piano (keyboard) | ||
| Style : | Classical | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 14 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. The impact of Gottschalk's music on the later development of ragtime might seem obvious, yet there is no proven link from him to the syncopated popular music he anticipated in works like Le Mancenillier, Op. 11, is a Creole-based composition for piano written by American composer Louis Moreau Gottschalk in Switzerland in the fall of 1848. Dedicated to "Madame Mennechet de Barival", it was published in Paris with the subtitle Sérénade by his publisher 'Escudiers' in April 1851. It is the fourth and last piece dubbed by musicologist Gilbert Chase the Louisiana Trilogy, written between 1844 and 46 when Gottschalk had not yet come of age. Based on a Saint-Domingue's eight-bar folk tune titled Chanson de Lizette, the Creole melody Ou som souroucou and either the Louisiana's Ma mourri or the Martinique's Tant sirop est doux, its title refers to the manchineel, a tree from the tropics which grows poisonous small apple-like fruits. It can't be burned for the smoke might cause blindness and one standing beneath its branches during a rainfall might have the skin blistered by its sap. It's a composition certainly based on a poem of the same name by Charles Hubert Millevoye. Although Gottschalk called the piece a "serenade", it was written as a ballad in the ABA form. With 238 bars and a 92 bpm Andante tempo marked as malinconico, it has a 2/2 time signature. The introductory melody is established under a staccato accompaniment on the left hand with the middle section marked by the contrasts of the staccato rhythm of left hand over the melodic phrases of the right, followed by a series of moduations. The third motif in B-flat comes with a fortissimo shift of the melody, followed by a long coda with light variations in triplets in the final bars.. Source: AllMusic(https://www.allmusic.com/artist/louis-moreau-g ottschalk-mn0001767715/biography). Although originally composed for Piano, I created this interpretation of "Le Mancenillier: Serenade" (Opus 11) for Oboe & Piano. | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version