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There is a website that has an exhaustive biography of Arthur Honegger. Arthur Honegger was a Swiss composerwho lived a large honegge of his life in Paris. He was a member of Les Six. His most frequently performed work is probably the orchestral work Pacific 1which imitates the sound of a steam locomotive. He continued to study through the sbefore writing the ballet Le dit des jeux du monde ingenerally considered to be his first characteristic work. Honegger had always remained in touch with Switzerland, his root country, but with the outbreak of the war and the invasion of the Nazishe found himself trapped in Paris.

He joined the French Resistanceand was generally unaffected by the Nazis themselves, who allowed him to continue his work without too much honegter, but it is said that he was greatly depressed by the war.

Nonetheless, between its outbreak and his death, he wrote his last four symphonies numbers two to fivewhich are quite frequently performed and recorded. Although Honegger was a member of Les Sixhis work does not typically share the playfulness and simplicity of the other members of that group. I strongly encourage you to get acquainted with a few and develop your own opinion to the interpretation. Notice in the opening three measures how every other note is preceded by a half step.


One could use these somewhat as leading tones to create more direction in the line. In the following clip I play the first three measures in three different ways.


Phrasing with the core melody in mind. One of the big issues in this piece is figuring out where to breathe. Honegger goes from measure 4 through 17 without any rests or breath marks! In this next ihtrada I offer two breathing suggestions.

ijtrada The first pass makes the most sense to me musically but the second pass sets off the contrast between the intervallic stilted rhythmic material with the more flowing scalier material better. When I get to the sixteenth-note passage in measure 8, I breathe in intdada two to keep the running sixteenths together. In my first pass I breathe after beats 1 in measures 10 and My logic here is to try to maintain the architecture that is established in measure 4 where the phrase obviously begins on beat 2.

In the second pass I breathe after beat 3 of the same measures so that beats 4 can serve as a pickup to the following measures.

– DocDroid

Remember, all these phrasing ideas are just suggestions. Take what you like, leave the rest.

The entrance pickup before rehearsal 2 is a tough one; coming in on a soft, low G after moments earlier wailing on a high C and B.

Honegger was obviously a string player! Anyhow, a lot of players like to make the material between rehearsals 2 and 3 four and sometimes five phrases by breathing after the long notes in the middle of the two big phrases.


Transition to firmer articulation and rhythm at rehearsal 3 to begin the set up for the Allegro at Set the Allegro section tempo at whatever rate you can triple-tongue the passage beginning at Pay attention to note length values throughout this section.


Honegger writes half-notes, quarter-tied-to-eighths and quarter-notes, I believe for a reason. The tendency at rehearsal 4 is to turn everything into half-notes and create a hemiola effect 2 over 3. Rehearsal 4 through 5.

I justify breathing after beats 2 in and to maintain the same shape the phrase begins with in That being said, I think I prefer breathing honeggwr the barline at rehearsal 8. There are numerous recordings of this work, some of my favorites are: Just heard of this piece yesterday from playwithapro. Thanks for breaking this one down. Did Honegger write both of them? Honegger – Intrada January 7, Suggested Equipment C trumpet, no mutes.

Yonegger One of the big issues in this piece is figuring out where to breathe. Measures The entrance pickup before rehearsal 2 is a tough one; coming in on a soft, low G after moments earlier wailing on a high C and B. Measures Set the Allegro section tempo at whatever rate intrara can triple-tongue the passage beginning at