Concierto en el RCPD"Mariemma". "Aquellos locos años 20" 2ª parte

Thank you. 00:00:09

Oh 00:01:39

Thank you. 00:03:01

This style that we are going to talk about is a very similar one in terms of the way the students see it. 00:04:47

Thank you. 00:07:09

We are going to continue with the composer, who is Debussy, an impressionist composer. 00:07:43

Debussy is another nominative and innovative musician whose musical evolution also fuses different styles, 00:08:20

from mental music, Spanish, to the melancholy of Java. 00:08:28

His influences come from pictorial impressionism, with Manet, 00:08:33

Manet, all that we know in the Olimpia parlor or in the Yerba breakfast, Monet, the most famous 00:08:38

of buffoons, and Degas, of course, the dancers, the classes with the dance masters, the images 00:08:45

of the dancers' legs. Poetry is influenced by the cursed poet of the time, Paul Verlaine, 00:08:53

who wrote a work, Fait Galant, about which Debussy composed a series of songs for voice and piano. 00:09:04

And about dance, I think you all know that he composed the famous Perugio, 00:09:12

La siesta de un fauno, about the choreography of Mischinsky, 00:09:17

and I encourage you to go to YouTube to see a very nice documentary about the original version of Mischinsky, 00:09:20

also about fauno, and there is also another one by Mureyev, very interesting. 00:09:26

I imagine that at that time it must have been a very disruptive thing for many people, like choreography. 00:09:31

Well, about Debussy, Pierre Roulet, a very important composer of the 20th century, 00:09:38

says that for him, Debussy and Anton Weber, this last piece that we have heard, 00:09:47

are the true proponents of contemporary music, more than Stalvins, Chisholm or Barton. 00:09:53

Because what they do is to destroy the formal organization of the work, they look for the beauty of the sound in itself. 00:09:59

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. 00:10:06

And they don't break with tradition either. 00:10:15

And then, through Debussy, as Pierre Boulez says, he understands Ravel, Valéry and Messiaen. 00:10:20

He really was the one who started everything, who broke everything and took a new path. 00:10:26

We wanted him to be a very calm person, very normal, nothing like that. 00:10:32

When we did the research, we discovered that he had an impressive sentimental life. 00:10:39

About madness and passion, we want to tell you some anecdotes of his sentimental life. 00:10:43

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. 00:10:50

But at 26, he won the Rome Prize, went to Rome, and that was the end of the relationship. 00:10:58

He returns from Rome at 29, meets the daughter of a rich sastra in Paris, Gabi, and goes to live with her. 00:11:03

We are at the beginning of the 20th century, so this already has its social impact. 00:11:11

She lives with Gabi for many years, but at the same time she has a relationship with the singer Teres, 00:11:17

for those who don't know, she knows the model Lili, who is Gabi's friend. 00:11:22

So she wants to leave Gabi to be with Lili, Gabi takes her badly and wants to kill herself. 00:11:29

But that doesn't stop her from being with Lili, in fact she marries Lili, she has a very long relationship with Lili, 00:11:35

But Lili is a model, a practical woman, a woman who falls in love with her friends and is a very successful woman socially. 00:11:42

But she was looking for someone more intellectual, someone who had more musical sensitivity. 00:11:52

And that is found in the mother of a student while she was with Lili, who is called Emma, 00:11:57

who was the mother of the student and the wife of a famous Parisian banker. 00:12:02

She decides she wants to leave Lily to be with Emma. 00:12:09

Lily takes it much worse than the previous one and wants to commit suicide too, but she does it big. 00:12:15

In public, in the Place de la Concorde, she sees a shot in the chest. 00:12:22

With such bad luck, in quotes, that she survives, the bullet gets stuck in a vertebrae all her life. 00:12:26

The sovereign scoundrel Debussy Emma, who was already married to Debussy, 00:12:33

wants to flee and escapes from the scandal to the island of Jersey in England. 00:12:38

And there Debussy composes one of his most wonderful works, which is The Happy Island. 00:12:44

Here we have a great intern for that work. 00:12:50

A fan. 00:12:54

A fan. 00:12:55

Well, that work is really beautiful, I encourage you to get it, because we know it by heart, but it is beautiful. 00:12:56

So, in the fall they return to Paris, while Debussy had already divorced in August from Lili. 00:13:01

Debussy and Emma's daughter is born, who is called Emma-Claude. 00:13:11

She is affectionately called Shushu, which in Japanese means niposa. 00:13:17

You already know that Debussy was a lover of the Oriental, of Japan, of prints and all that. 00:13:23

And he dedicates the work to Children's Corner and then he marries Emma. 00:13:28

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. 00:13:37

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, 00:13:43

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. 00:13:56

Well, let's go to Tizvay. 00:14:38

Tizvay, let's see, is so happy for his friendship. 00:18:57

His language is not particularly classifiable, but it is provocative. 00:19:02

In this decade of the 20s, what concerns us today is to bring people to the musical theater, 00:19:10

where he is more comfortable, looking at music, dance, theater, voice, cinema. 00:19:16

His ultimate success was the opera of the Three Centuries, which was premiered in 1928, 00:19:20

in collaboration with Werloth Brecht, an intense and productive collaboration. 00:19:25

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. 00:19:30

He also did a work for Balanchine, which at that time began to create his company, called The Seven Capital Sinners. 00:19:41

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. 00:19:49

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. 00:19:58

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. 00:20:13

but it was released in 1975 in Berlin, 00:20:20

in charge of two great, two legends of the interpretation, 00:20:24

such as the cellist Siegfried Palm and the pianist Lois Kontarski, 00:20:28

who were composers of avant-garde music. 00:20:32

And for all of them it is very peculiar, very special to listen to it today, 00:20:36

because it is a very little played music. 00:20:40

And I want to thank very, very special to María Casado, 00:20:43

This is the cellist who is going to play together with Luis Comín this sonata. 00:20:47

She is a master of interludes of very recognized prestige and who has offered to play and play the sonata. 00:20:52

Thank you very much. 00:21:00

Thank you. 00:29:05