1 00:00:09,330 --> 00:01:39,790 Thank you. 2 00:01:39,810 --> 00:01:52,340 Oh 3 00:03:01,099 --> 00:04:47,759 Thank you. 4 00:04:47,779 --> 00:07:05,899 This style that we are going to talk about is a very similar one in terms of the way the students see it. 5 00:07:09,870 --> 00:07:43,560 Thank you. 6 00:07:43,579 --> 00:08:20,790 We are going to continue with the composer, who is Debussy, an impressionist composer. 7 00:08:20,790 --> 00:08:28,790 Debussy is another nominative and innovative musician whose musical evolution also fuses different styles, 8 00:08:28,790 --> 00:08:33,789 from mental music, Spanish, to the melancholy of Java. 9 00:08:33,789 --> 00:08:38,789 His influences come from pictorial impressionism, with Manet, 10 00:08:38,789 --> 00:08:45,789 Manet, all that we know in the Olimpia parlor or in the Yerba breakfast, Monet, the most famous 11 00:08:45,789 --> 00:08:53,789 of buffoons, and Degas, of course, the dancers, the classes with the dance masters, the images 12 00:08:53,789 --> 00:09:04,789 of the dancers' legs. Poetry is influenced by the cursed poet of the time, Paul Verlaine, 13 00:09:04,789 --> 00:09:12,789 who wrote a work, Fait Galant, about which Debussy composed a series of songs for voice and piano. 14 00:09:12,789 --> 00:09:17,789 And about dance, I think you all know that he composed the famous Perugio, 15 00:09:17,789 --> 00:09:20,789 La siesta de un fauno, about the choreography of Mischinsky, 16 00:09:20,789 --> 00:09:26,789 and I encourage you to go to YouTube to see a very nice documentary about the original version of Mischinsky, 17 00:09:26,789 --> 00:09:31,789 also about fauno, and there is also another one by Mureyev, very interesting. 18 00:09:31,789 --> 00:09:38,789 I imagine that at that time it must have been a very disruptive thing for many people, like choreography. 19 00:09:38,789 --> 00:09:47,789 Well, about Debussy, Pierre Roulet, a very important composer of the 20th century, 20 00:09:47,789 --> 00:09:53,789 says that for him, Debussy and Anton Weber, this last piece that we have heard, 21 00:09:53,789 --> 00:09:59,789 are the true proponents of contemporary music, more than Stalvins, Chisholm or Barton. 22 00:09:59,789 --> 00:10:06,789 Because what they do is to destroy the formal organization of the work, they look for the beauty of the sound in itself. 23 00:10:06,789 --> 00:10:15,789 And it is a language that in the end is very free, very open, with which he projects, he leaves it open for further research. 24 00:10:15,789 --> 00:10:20,789 And they don't break with tradition either. 25 00:10:20,789 --> 00:10:26,789 And then, through Debussy, as Pierre Boulez says, he understands Ravel, Valéry and Messiaen. 26 00:10:26,789 --> 00:10:32,789 He really was the one who started everything, who broke everything and took a new path. 27 00:10:32,789 --> 00:10:39,789 We wanted him to be a very calm person, very normal, nothing like that. 28 00:10:39,789 --> 00:10:43,789 When we did the research, we discovered that he had an impressive sentimental life. 29 00:10:43,789 --> 00:10:50,789 About madness and passion, we want to tell you some anecdotes of his sentimental life. 30 00:10:50,789 --> 00:10:58,789 The 18-year-old boy has an eight-year-old relationship with a married woman, Blanche, who was the wife of a very rich Parisian lawyer. 31 00:10:58,789 --> 00:11:03,789 But at 26, he won the Rome Prize, went to Rome, and that was the end of the relationship. 32 00:11:03,789 --> 00:11:11,789 He returns from Rome at 29, meets the daughter of a rich sastra in Paris, Gabi, and goes to live with her. 33 00:11:11,789 --> 00:11:17,789 We are at the beginning of the 20th century, so this already has its social impact. 34 00:11:17,789 --> 00:11:22,789 She lives with Gabi for many years, but at the same time she has a relationship with the singer Teres, 35 00:11:22,789 --> 00:11:29,789 for those who don't know, she knows the model Lili, who is Gabi's friend. 36 00:11:29,789 --> 00:11:35,789 So she wants to leave Gabi to be with Lili, Gabi takes her badly and wants to kill herself. 37 00:11:35,789 --> 00:11:42,789 But that doesn't stop her from being with Lili, in fact she marries Lili, she has a very long relationship with Lili, 38 00:11:42,789 --> 00:11:52,789 But Lili is a model, a practical woman, a woman who falls in love with her friends and is a very successful woman socially. 39 00:11:52,789 --> 00:11:57,789 But she was looking for someone more intellectual, someone who had more musical sensitivity. 40 00:11:57,789 --> 00:12:02,789 And that is found in the mother of a student while she was with Lili, who is called Emma, 41 00:12:02,789 --> 00:12:09,789 who was the mother of the student and the wife of a famous Parisian banker. 42 00:12:09,789 --> 00:12:15,789 She decides she wants to leave Lily to be with Emma. 43 00:12:15,789 --> 00:12:22,789 Lily takes it much worse than the previous one and wants to commit suicide too, but she does it big. 44 00:12:22,789 --> 00:12:26,789 In public, in the Place de la Concorde, she sees a shot in the chest. 45 00:12:26,789 --> 00:12:33,789 With such bad luck, in quotes, that she survives, the bullet gets stuck in a vertebrae all her life. 46 00:12:33,789 --> 00:12:38,789 The sovereign scoundrel Debussy Emma, who was already married to Debussy, 47 00:12:38,789 --> 00:12:44,789 wants to flee and escapes from the scandal to the island of Jersey in England. 48 00:12:44,789 --> 00:12:50,789 And there Debussy composes one of his most wonderful works, which is The Happy Island. 49 00:12:50,789 --> 00:12:54,789 Here we have a great intern for that work. 50 00:12:54,789 --> 00:12:55,789 A fan. 51 00:12:55,789 --> 00:12:56,789 A fan. 52 00:12:56,789 --> 00:13:01,789 Well, that work is really beautiful, I encourage you to get it, because we know it by heart, but it is beautiful. 53 00:13:01,789 --> 00:13:11,789 So, in the fall they return to Paris, while Debussy had already divorced in August from Lili. 54 00:13:11,789 --> 00:13:17,789 Debussy and Emma's daughter is born, who is called Emma-Claude. 55 00:13:17,789 --> 00:13:23,789 She is affectionately called Shushu, which in Japanese means niposa. 56 00:13:23,789 --> 00:13:28,789 You already know that Debussy was a lover of the Oriental, of Japan, of prints and all that. 57 00:13:28,789 --> 00:13:37,789 And he dedicates the work to Children's Corner and then he marries Emma. 58 00:13:37,789 --> 00:13:43,789 Well, not necessarily in this order, maybe the daughter comes first and then he marries her, we don't know, but that's what happens. 59 00:13:43,789 --> 00:13:56,789 Very well, then, having said that, which was something we wanted to say for a vision of what madness and passion can be with a point of grace, 60 00:13:56,789 --> 00:14:05,789 We give way to our dear Paula, who always participates with us, and to whom we really thank a lot for being here with us. 61 00:14:38,149 --> 00:18:56,299 Well, let's go to Tizvay. 62 00:18:57,299 --> 00:19:02,299 Tizvay, let's see, is so happy for his friendship. 63 00:19:02,299 --> 00:19:10,569 His language is not particularly classifiable, but it is provocative. 64 00:19:10,569 --> 00:19:16,569 In this decade of the 20s, what concerns us today is to bring people to the musical theater, 65 00:19:16,569 --> 00:19:20,569 where he is more comfortable, looking at music, dance, theater, voice, cinema. 66 00:19:20,569 --> 00:19:25,569 His ultimate success was the opera of the Three Centuries, which was premiered in 1928, 67 00:19:25,569 --> 00:19:30,569 in collaboration with Werloth Brecht, an intense and productive collaboration. 68 00:19:30,569 --> 00:19:41,569 For example, in this work he uses a cabaret orchestra, the actors sing, but they are not professional singers, and this shocked a lot at the time. 69 00:19:41,569 --> 00:19:49,569 He also did a work for Balanchine, which at that time began to create his company, called The Seven Capital Sinners. 70 00:19:49,569 --> 00:19:58,569 And then the work that we are going to listen to today, which is the sonata for cello and piano, the first movement, is a rarity because its work on camera is very small. 71 00:19:58,569 --> 00:20:13,569 Only a manuscript of this first movement is preserved, the one we are going to listen to today, and only a copy of the whole sonata, which dates from 1925. 72 00:20:13,569 --> 00:20:20,569 The premiere was scheduled in Hannover, but it did not come to be produced. There is also a lot of mystery as to why this work was not premiered at the time. 73 00:20:20,569 --> 00:20:24,569 but it was released in 1975 in Berlin, 74 00:20:24,569 --> 00:20:28,569 in charge of two great, two legends of the interpretation, 75 00:20:28,569 --> 00:20:32,569 such as the cellist Siegfried Palm and the pianist Lois Kontarski, 76 00:20:32,569 --> 00:20:36,569 who were composers of avant-garde music. 77 00:20:36,569 --> 00:20:40,569 And for all of them it is very peculiar, very special to listen to it today, 78 00:20:40,569 --> 00:20:43,569 because it is a very little played music. 79 00:20:43,569 --> 00:20:47,569 And I want to thank very, very special to María Casado, 80 00:20:47,569 --> 00:20:52,569 This is the cellist who is going to play together with Luis Comín this sonata. 81 00:20:52,569 --> 00:21:00,569 She is a master of interludes of very recognized prestige and who has offered to play and play the sonata. 82 00:21:00,569 --> 00:21:21,349 Thank you very much. 83 00:29:05,630 --> 00:29:09,470 Thank you.