Persistent Link:
http://hdl.handle.net/10150/186676
Title:
The wartime melodies of André Caplet.
Author:
Allen, Marie-Christine Catherine.
Issue Date:
1994
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
André Caplet (1878-1925) was a major figure on the musical scene for the first quarter of the twentieth century. He contributed substantially to the repertoire of the solo voice, and to that of choral and chamber music. He was moreover an acclaimed conductor; besides extensive engagements in Paris, Caplet was the conductor of French repertoire at the Boston Opera Company from 1910-14. His career was tragically cut short when he was forty-six years of age because of war-related injuries. An in-depth look at the compositions he left behind reveals a brilliant intellect, meticulous attention to detail, a tremendous ear for color, and keen sensitivity to poetic nuance. The richness of his poetic imagination and his technical resources resulted in a variety of oeuvres of originality and depth. He is unsurpassed as a text-painter in the history of mélodie. The name of André Caplet should be added to those of Debussy and Ravel as an important representative of musical impressionism. This paper examines the exquisite text setting of Caplet. I have chosen the wartime mélodies because of the depth and range of their emotional and musical content. Moreover, they are loosely linked by the undercurrents of war which, with their ever-changing, reflecting and refracting surfaces, run through these mélodies like an impressionistic stream. Caplet wrote predominantly for the mezzo-soprano voice during this period, perhaps using a richer voice to more richly express the depth of his experiences. These mélodies thus represent a wonderful addition to French repertoire for this Fach.
Type:
text; Dissertation-Reproduction (electronic)
Keywords:
Music.
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Committee Chair:
Day, Larry

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleThe wartime melodies of André Caplet.en_US
dc.creatorAllen, Marie-Christine Catherine.en_US
dc.contributor.authorAllen, Marie-Christine Catherine.en_US
dc.date.issued1994en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractAndré Caplet (1878-1925) was a major figure on the musical scene for the first quarter of the twentieth century. He contributed substantially to the repertoire of the solo voice, and to that of choral and chamber music. He was moreover an acclaimed conductor; besides extensive engagements in Paris, Caplet was the conductor of French repertoire at the Boston Opera Company from 1910-14. His career was tragically cut short when he was forty-six years of age because of war-related injuries. An in-depth look at the compositions he left behind reveals a brilliant intellect, meticulous attention to detail, a tremendous ear for color, and keen sensitivity to poetic nuance. The richness of his poetic imagination and his technical resources resulted in a variety of oeuvres of originality and depth. He is unsurpassed as a text-painter in the history of mélodie. The name of André Caplet should be added to those of Debussy and Ravel as an important representative of musical impressionism. This paper examines the exquisite text setting of Caplet. I have chosen the wartime mélodies because of the depth and range of their emotional and musical content. Moreover, they are loosely linked by the undercurrents of war which, with their ever-changing, reflecting and refracting surfaces, run through these mélodies like an impressionistic stream. Caplet wrote predominantly for the mezzo-soprano voice during this period, perhaps using a richer voice to more richly express the depth of his experiences. These mélodies thus represent a wonderful addition to French repertoire for this Fach.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.subjectMusic.en_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.chairDay, Larryen_US
dc.contributor.committeememberMosher, Elizabethen_US
dc.contributor.committeememberFan, Paulaen_US
dc.identifier.proquest9426309en_US
dc.identifier.oclc703255641en_US
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