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    Transcript of Dionysiaques

    Dionysiaques
    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.
    THANK YOU!
    sandals sandals Greek sandals Brown sandals sandals Gladiator sandals beach boho ethnic Summer hippie sandals sandals women sandals 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.
    Impressionist
    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
    Conclusion
    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
    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
    Motives
    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
    Augmentation/Diminution/extension
    Ex: m. 274
    The afterbeat is over-emphasized = savage rituals
    Dynamics
    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
    Conjunct
    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.
    Themes
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    Done

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