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Alexandra Bourque

on 28 October 2015
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    Transcript of Dionysiaques

    Composed in 1913
    Composed for the
    Garde Républicaine Band
    Published in 1917
    Premiere in 1925
    First recording in 1950
    1992: was considered in the "Top 10" of Band compositions
    Grade V, challenging repertoire
    Use for Band competitions in Japan
    Influence: Schmitt is fascinated with exotic themes
    Festival in ancient Greece celebrating the God of Wine, fertility, drama etc. : Dionysus
    Score Analysis
    Score Analysis (next part)
    Performance practices
    Need solid performers on every part
    Interesting piece
    Challenging piece
    Orchestral music
    Orchestrated to project effects
    Almost a programmatic work
    Very descriptive
    Foreshadowing the works written a little bit later.
    Boots Black Ladies Victorian Boots Up High Brand Top Antique Diamond Boots Lace Leather Florent Schmitt
    Florent Schmitt (1870-1958)
    French composer
    Studied composition with Gabriel Fauré and Theodore Dubois at the Paris Conservatoire
    Won the Prix de Rome in 1900
    Composed for multiple forms of music, except opera.
    Influenced to compose for wind band after is time in World War I.
    Composed two works for band and percussions: Dionysiaques and Marche Militaire form the two sections of Op. 62 and Slamlik, Op. 48
    Composed tree quartets for winds
    Wind chamber music
    Recipient of the
    Grand Prix de Musique de Paris
    and was named Commander in the Order of the Légion d'honneur
    Florent Schmitt
    Op. 62 No 1
    Use full wind band instrumentation but not standardized American instrumentation
    2 versions:
    1913 version: with contrabass sarrusophone in C, trumpet in C and 2 bugles in Bb and Eb.
    1975 (Guy M. Duker): with modern instrumentation
    Formal Scheme
    Form: Intro - ABA'B'- Coda
    Intro: Non-thematic
    Four main motives
    Compositional techniques used: transposition, extension, truncation and inversion
    Six themes
    Harmonic structure
    Common chord types but the harmonic progression is not used in traditional way
    The use of linear and vertical tritone = dissonant effect.
    Ex: C/F# alternating and creating a tritone.
    Elusive tonality: Give a tonal idea and than divert from it.
    Rhythm and meter
    4 motives:
    1) The wedge motive
    2) The hover motive
    3) The ascent/descent motive
    4) The 2/3 motive

    Consonant or dissonant
    Forceful rhythmic writing
    Dichotomy in rhythm: some themes are fuild, other are agressive
    His goal: bluring the sens of meter to create a sense of energy and tension:
    Regular meter with challenging rhythm
    Accent at irregular places
    Hemiola figures
    Play with entrances
    Ex: m. 274
    The afterbeat is over-emphasized = savage rituals
    Intensify the impact of rhythm, melody, harmony and texture.
    Used to create mood, tension, images and feelings from the listeners.
    Correlation between dynamics and rhythm:
    Ex: forte = crescendo, forceful rhythm, elevate rhythmic activity, accelerendo etc.
    piano = decrescendo, slow motion, blurred rhythm, thin texture etc.
    Timbre and Orchestration
    1st Group: Motive 1 and 4
    Themes are separated into two groups. The differences concern the color, range, rhythmic character and the shape or melody.
    Motive 1: m. 1-3
    Motive 4: m. 8-9
    Played by low brass and woodwinds
    None flowing melodic shape
    Uncommon rhythm
    2nd Group: Motive 2 and 3
    Motive 2: m. 4
    Motive 3: m. 7-8
    Played by high woodwinds
    Insipide rhythm
    High technical demands for each part to create the desired texture:

    High ability of tonguing
    Difficult fingering
    Extreme registers
    Arduous entrances
    Challenging rhythms
    Scarce texture
    m. 267
    Main features
    Very descriptive
    Powerful rhythmic activity
    Expressive orchestral color
    Exoticism in chromatic elements
    Exploit the different colors and timbres of the wind orchestra instead of repressing these differences.
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    Antique Victorian/Edwardian Ladies Lace Up Boots. These black lace up boots are Diamond Brand Weatherbird from Peters Shoe Co. St. Louis. They are made of leather. The upper part of the shoe needs some conditioning and polishing. There are some scuffs on the toes. There are 14 shoe lace holes with metal rings. I don't think these are the original laces. Insides are in good condition. The left shoe tongue has some leather missing, just the cloth remains. Peter's Weatherbird is stamped inside along with 410 8361. The soles are in good antique condition. Wear consistent with age and use. They have the Peter's Shoe Co. stamp on both shoes. The shoes measure 9 1/8" in length (measured on the sole), and 3" in width. The heel is 1" in height. The shoes are 7 3/4" in height, including the heel. The arch is 3" from the top of the sole. These shoes are wearable. A little conditioning and polishing, along with changing the laces, would make these boots look almost brand new. They would be great as store props, theater props or to wear for that steam punk look!

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