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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 (next part)
Need solid performers on every part
Orchestrated to project effects
Almost a programmatic work
Foreshadowing the works written a little bit later.
Women's Colorful sneakers God Of War Shoes High like Looks Shoes Of Tops Shoes God Of high God Converse Men's Tops War War Sneakers Florent Schmitt
Florent Schmitt (1870-1958)
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
Op. 62 No 1
Use full wind band instrumentation but not standardized American instrumentation
1913 version: with contrabass sarrusophone in C, trumpet in C and 2 bugles in Bb and Eb.
1975 (Guy M. Duker): with modern instrumentation
Form: Intro - ABA'B'- Coda
Four main motives
Compositional techniques used: transposition, extension, truncation and inversion
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
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
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
2nd Group: Motive 2 and 3
Motive 2: m. 4
Motive 3: m. 7-8
Played by high woodwinds
High technical demands for each part to create the desired texture:
High ability of tonguing
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.