Editing Paul Dukas

{{short description|French composer (1865–1935)}}
{{Use dmy dates|date=July 2022}}
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[[File:Paul Dukas 01.jpg|thumb|right|Paul Dukas]]

'''Paul Abraham Dukas''' ({{IPA|fr|dykɑ(ː)s|lang}}<ref>{{cite web |last1=Deneuville |first1=Thomas |title=French Composers' Names – Paul Dukas |url=https://icareifyoulisten.com/2011/02/french-composers%E2%80%99-names-%E2%80%93-paul-dukas/#:~:text=This%20article%20from%20a%20BBC,was%20the%20composer's%20own%20pronunciation.%E2%80%9D |website=I Care If You Listen |access-date=12 June 2022}}</ref><ref>{{cite web |author=[[BBC Pronunciation Unit]] |title=How to say: Francis Poulenc |url=https://www.bbc.co.uk/blogs/magazinemonitor/2006/11/how_to_say_francis_poulenc.shtml |website=BBC |access-date=5 January 2025}}</ref> 1 October 1865 – 17 May 1935) was a French composer, critic, scholar and teacher. A studious man of retiring personality, he was intensely self-critical, having abandoned and destroyed many of his compositions. His best-known work is the orchestral piece [[The Sorcerer's Apprentice (Dukas)|''The Sorcerer's Apprentice'']] (''L'apprenti sorcier''), the fame of which has eclipsed that of his other surviving works, largely due to its usage in the 1940 Disney film ''[[Fantasia (1940 film)|Fantasia]]''. Among these are the opera ''[[Ariane et Barbe-bleue]]'', his [[Symphony in C (Dukas)|Symphony in C]] and [[Piano Sonata (Dukas)|Piano Sonata in E-flat minor]], the ''[[Variations, Interlude and Finale on a Theme by Rameau]]'' (for solo piano), and a ballet, ''[[La Péri (Dukas)|La&nbsp;Péri]]''.

At a time when French musicians were divided into conservative and progressive factions, Dukas adhered to neither but retained the admiration of both. His compositions were influenced by composers including [[Ludwig van Beethoven|Beethoven]], [[Hector Berlioz|Berlioz]], [[César Franck|Franck]], [[Vincent d'Indy|d'Indy]] and [[Claude Debussy|Debussy]].

In tandem with his composing career, Dukas worked as a music critic, contributing regular reviews to at least five French journals. Later in his life he was appointed professor of composition at the [[Conservatoire de Paris]] and the [[École Normale de Musique]]; his pupils included [[Maurice Duruflé]], [[Olivier Messiaen]], [[Walter Piston]], [[Manuel Ponce]], [[Joaquín Rodrigo]] and [[Xian Xinghai]].

==Life and career==
===Early years===
[[File:Mathias-dubois-guiraud-debussy.jpg|thumb|200px|left|Dukas's teachers, [[Georges Mathias]] (top l.), [[Théodore Dubois]] (top r.) and [[Ernest Guiraud]] (bottom l.), and Dukas' fellow student [[Claude Debussy]]]]
Dukas was born in Paris, the second son in a Jewish family of three children.<ref name=l89>Lockspeiser, p. 89</ref><ref name=grove/> His father, Jules Dukas, was a banker, and his mother, Eugénie, was a capable pianist.<ref name=grove/><ref name=mm>Havard de la Montagne, Denis. [http://www.musimem.com/dukas.htm "Paul Dukas"], ''Musica et Memoria'' (French text), accessed 18 March 2011</ref> When Dukas was five years old, his mother died giving birth to her third child, Marguerite-Lucie.<ref name=grove/> Dukas took piano lessons but showed no unusual musical talent until he was 14 when he began to compose while recovering from an illness.<ref name=grove>Schwartz, Manuela and G.W. Hopkins. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/08282 "Dukas, Paul."] ''Grove Music Online'', Oxford Music Online, accessed 19 March 2011 {{subscription required}}</ref> He entered the [[Conservatoire de Paris]] at the end of 1881, aged 16, and studied piano with [[Georges Mathias]], harmony with [[Théodore Dubois]] and composition with [[Ernest Guiraud]].<ref name=mq>Schwerké, Irving. [https://www.jstor.org/stable/738438 "Paul Dukas: A Brief Appreciation"], ''[[The Musical Quarterly]]'', July 1928, pp. 403–412, accessed 17 March 2011 {{subscription required}}</ref> Among his fellow students was [[Claude Debussy]], with whom Dukas formed a close friendship.<ref name=l89/> Two early overtures survive from this period, ''Goetz de Berlichingen'' (1883) and ''Le Roi Lear'' (1883). The manuscript of the latter was rediscovered in the 1990s and the work was performed for the first time in 1995.<ref name=grove/>

Dukas won several prizes, including the second place in the Conservatoire's most prestigious award, the [[Prix de Rome]], for his cantata ''Velléda'' in 1888.<ref name=mq/> Disappointed at his failure to win the top prize, he left the Conservatoire in 1889.<ref name=mt>[https://www.jstor.org/stable/920194 "Paul Dukas"], ''[[The Musical Times]]'', July 1935, pp. 655–656, accessed 17 March 2011 {{subscription required}}</ref> After compulsory military service he began a dual career as a composer and a music critic.<ref name=mq/>

===1890s===
Dukas's career as a critic began in 1892 with a review of [[Richard Wagner|Wagner]]'s ''[[Der Ring des Nibelungen]]'' conducted by [[Gustav Mahler]] at [[Royal Opera House|Covent Garden]] in London.<ref name=grove/> His review was published in ''[[La Revue hebdomadaire |La Revue Hebdomadaire]]''; he later wrote also for ''Minerva'', ''La Chronique des Arts'', ''[[Gazette des Beaux-Arts]]'' and ''Le Courrier Musical''.<ref name=mq/> His Parisian debut as composer was a performance of his overture ''[[Polyeucte (Dukas)|Polyeucte]]'', written in 1891 and premiered by [[Charles Lamoureux]] and his [[Orchestre Lamoureux]] in January 1892. Based on a tragedy by [[Pierre Corneille|Corneille]], the work, like many French works of the period, shows the influence of Wagner,<ref name=l89/> but is coherent and displays some individuality.<ref name=mq/>

[[File:Gazette-des-beaux-arts-1892.jpg|thumb|175px|right|''Gazette des Beaux-Arts'', for which Dukas wrote music criticism]]
Although Dukas wrote a fair amount of music, he was a perfectionist and destroyed many of his pieces out of dissatisfaction with them.<ref name=mm/> Only a few of his compositions remain. After ''Polyeucte'', he began writing an opera in 1892. He wrote his own libretto, ''Horn et Riemenhild'', but he composed only one act, "realising too late that the work's developments were more literary than musical".<ref>Dukas, ''quoted in'' Grove</ref>

The [[Symphony in C (Dukas)|Symphony in C major]] was composed in 1895–96, when Dukas was in his early 30s. It is dedicated to [[Paul Vidal]], and had its first performance in January 1896, under the direction of the dedicatee.<ref name=mq/> In a study of Dukas published towards the end of the composer's life, Irving Schwerké wrote, "The work … is an opulent expression of modernism in classical form. Its ideational luxuriance, nobility of utterance and architectural solidity mark it as one of the most conspicuous achievements of contemporaneous writing, and magnificently refute the generally prevalent notion that no French composer has ever produced a great symphony."<ref name=mq/>
Like [[César Franck|Franck]]'s [[Symphony in D minor (Franck)|only symphony]], Dukas's is in three movements rather than the conventional four. Schwerké wrote of it:
{{quote|Expressed in an individual and spontaneous idiom, the Symphony in C gives free play to the author's creative spirit and to his fund of exalted emotion. The high-spirited, impetuous first movement,'' Allegro non troppo vivace'' is intensely rhythmic. Its logical structure, strong thematic material, polyphonic richness and virile instrumentation combine to create an exhilarating effect of life and pageant color. The second movement, ''Andante'', in sharp contrast to the first, reveals the perfect finish of the composer's style and the ineffable charm of his melody. The robust last movement, ''Allegro spiritoso'', so verdant in instrumentation, brings the symphony to a vigorous close.<ref name=mq/>|}}
The work received a mixed reception at its first performance. [[Désiré-Émile Inghelbrecht]], later known as a conductor, was a member of the orchestra at the premiere, and wrote, "the work which nowadays seems to us so lucid aroused not only the protestations of the public, but also those of the musicians of the orchestra."<ref name=smith>Langham Smith, Richard (1994). Notes to Chandos CD 209225</ref> The symphony was better received when the Lamoureux Orchestra revived it in 1902.<ref name=smith/>

The symphony was followed by another orchestral work, by far the best known of Dukas' compositions, his scherzo for orchestra, ''L'apprenti sorcier'' (''[[The Sorcerer's Apprentice (Dukas)|The Sorcerer's Apprentice]]'') (1897), a short piece (lasting for between 10 and 12 minutes in performance)<ref>Indicative timings: 10 minutes 04 seconds on [[His Master's Voice (British record label)|His Master's Voice]] LP 1432 ([[NBC Symphony Orchestra]] and [[Arturo Toscanini]], 1957); 10' 44" on [[Deutsche Grammophon|DG]] CD 419 617-2 ([[Berlin Philharmonic Orchestra]] and [[James Levine]], 1987); 11' 31" on [[Chandos Records|Chandos]] CD CHAN 241-32 ([[Ulster Orchestra]] and [[Yan Pascal Tortelier]], 1989); and 11' 33" on [[Decca Records|Decca]] CD 421 527-2 [[Montreal Symphony Orchestra]] and [[Charles Dutoit]], 1989</ref> based on [[Johann Wolfgang von Goethe|Goethe]]'s poem "[[The Sorcerer's Apprentice|Der Zauberlehrling]]".<ref name=l89/> During Dukas's lifetime ''[[The Musical Quarterly]]'' commented that the world fame of the work not only overshadowed all other compositions by Dukas, but also eclipsed Goethe's original poem.<ref name=mq/> The popularity of the piece became a matter of irritation to Dukas.<ref name=mt/> In 2011, the ''[[Grove Dictionary of Music and Musicians]]'' observed, "The popularity of ''L'apprenti sorcier'' and the exhilarating film version of it in Disney's ''[[Fantasia (1940 film)|Fantasia]]'' possibly hindered a fuller understanding of Dukas, as that single work is far better known than its composer."<ref name=grove/>

===20th-century works===
[[File:Bakst La Péri costume of Iskender.jpg|thumb|left|upright|Costume design for Dukas's ''La Péri'' by [[Léon Bakst]], 1922.]]
In the decade after ''L'apprenti sorcier'', Dukas completed two complex and technically demanding large-scale works for solo piano: the [[Piano Sonata (Dukas)|Piano Sonata]] (1901), dedicated to [[Camille Saint-Saëns|Saint-Saëns]], and ''[[Variations, Interlude and Finale on a Theme by Rameau]]'' (1902).<ref name=grove/> In Dukas's piano works critics have discerned the influence of Beethoven, or, "Beethoven as he was interpreted to the French mind by César Franck".<ref name=l92/> Both works were premiered by [[Édouard Risler]], a celebrated pianist of the era.<ref name=l90>Lockspeiser, p. 90</ref> There are also two smaller works for piano solo. The Sonata, described by the critic Edward Lockspeiser as "huge and somewhat recondite",<ref name=l92>Lockspeiser, p. 92</ref> did not enter the mainstream repertoire, but it has been more recently championed by such pianists as [[Marc-André Hamelin]] and [[Margaret Fingerhut]].<ref>Nicholas, Jeremy. [http://www.gramophone.net/Issue/Page/July%202006/74/813305 "Dukas"], ''[[Gramophone (magazine)|Gramophone]]'', July 2006, p. 74, accessed 18 March 2011</ref><ref>Chandos CD 8765 (1988)</ref> Lockspeiser describes the ''Rameau Variations'' as more developed and assured ... Dukas infuses the conventional form with a new and powerful spirit."<ref name=l92/>

In 1899 Dukas turned once again to operatic composition. His second attempt, ''L'arbre de science'', was abandoned, incomplete, but in the same year he began work on his one completed opera, ''[[Ariane et Barbe-bleue]]'' (''Ariadne and Bluebeard''). The work is a setting of a libretto by [[Maurice Maeterlinck]].<ref name=ocm>Arnold, Denis and Richard Langham Smith. [http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e2110 "Dukas, Paul (Abraham)."] ''The Oxford Companion to Music''. Ed. Alison Latham, Oxford Music Online, accessed 19 March 2011 {{subscription required}}</ref> The author had intended the libretto to be set by [[Edvard Grieg|Grieg]] but in 1899 he offered it to Dukas.<ref name=pog/> Dukas worked on it for seven years and it was produced at the [[Opéra-Comique]] in 1907.<ref name=grove/> The opera has often been compared to Debussy's ''[[Pelléas et Mélisande (opera)|Pelléas et Mélisande]]'' which was first performed while Dukas was writing ''Ariane et Barbe-bleue''. Not only are both works settings of Maeterlinck, but there are musical similarities; Dukas even quotes from the Debussy work in his score.<ref name=ocm/> Although it won considerable praise, its success was overshadowed by the Paris premiere of [[Richard Strauss]]'s sensational opera ''[[Salome (opera)|Salome]]'' at much the same time.<ref name=grove/> Nonetheless, within a short time of its premiere, Dukas's opera was produced in Vienna, where it aroused much interest in [[Arnold Schoenberg|Schoenberg]]'s circle, and in Frankfurt, Milan and New York.<ref name=grove/> It did not maintain a regular place in the repertory, despite the advocacy of [[Arturo Toscanini]], who conducted it in New York three years in succession,<ref>Taubman, Howard. [https://www.jstor.org/stable/739147 "Toscanini in America"],'' The Musical Quarterly,'' April 1947, pp. 178–187 {{subscription required}}</ref> and [[Thomas Beecham|Sir Thomas Beecham]], who pronounced it "one of the finest lyrical dramas of our time,"<ref name=l91>Lockspeiser, p. 91</ref> and staged it at [[Royal Opera House|Covent Garden]] in 1937.<ref>Jefferson, p. 184</ref> Interest in it revived in the 1990s, with productions in Paris ([[Théâtre du Châtelet]], 1990) and Hamburg ([[Hamburg State Opera|Staatsoper]], 1997),<ref name=grove/> and at the [[Opéra Bastille]] in Paris in 2007.<ref>[http://www.evene.fr/culture/agenda/ariane-et-barbe-bleue-18726.php " Ariane et Barbe-Bleue"], ''Evene'', accessed 18 March 2011</ref>

Dukas's last major work was the sumptuous oriental ballet ''[[La Péri (Dukas)|La Péri]]'' (1912). Described by the composer as a "poème dansé" it depicts a young Persian prince who travels to the ends of the Earth in a quest to find the lotus flower of immortality, coming across its guardian, the Péri (fairy).<ref name=blakeman>Blakeman, Edward (1990). Notes to [[Chandos Records|Chandos]] CD 208852, p. 5</ref> Because of the very quiet opening pages of the ballet score, the composer added a brief "Fanfare pour précéder ''La Peri''" which gave the typically noisy audiences of the day time to settle in their seats before the work proper began. ''La Péri'' was written for the Russian-French dancer [[Natalia Vladimirovna Trouhanowa|Natalia Trouhanova]], who starred in the first performance at the Châtelet in 1912. [[Sergei Diaghilev|Diaghilev]] planned a production with his [[Ballets Russes]] but the production did not take place; the company's choreographer [[Michel Fokine|Fokine]] staged ''L'apprenti sorcier'' as a ballet in 1916.<ref name=grove/>

In 1916, Dukas married Suzanne Pereyra (1883-1947), who was of Portuguese descent. They had one child, a daughter Adrienne-Thérèse, born in December 1919.<ref name=grove/> <!-- CITATION WANTED FOR THIS , who died on 25 March 1958, in a plane crash near [[Miami]]. She was residing in New York at the time of her death.-->

===Later years===
[[File:Classe-dukas.jpg|thumb|right|450px|Paul Dukas and students of his composition class at the [[Paris Conservatoire]], 1929. [[Olivier Messiaen]] is on the extreme right; [[Maurice Duruflé]] stands next to him]]
In the last years of his life, Dukas became well known as a teacher of composition. When [[Charles-Marie Widor]] retired as professor of composition at the Paris Conservatoire in 1927, Dukas was appointed in his place.<ref name=mq/> He also taught at the École Normale de Musique in Paris. His many students included [[Jehan Alain]], [[Elsa Barraine]], [[Yvonne Desportes]], [[Francis Chagrin]], [[Carlos Chávez]], [[Maurice Duruflé]], [[Georges Hugon]], [[Jean Langlais]], [[Olivier Messiaen]], [[Walter Piston]], [[Manuel Ponce]], [[Joaquín Rodrigo]], [[David Van Vactor]] and [[Xian Xinghai]].<ref name=l89/><ref name=grove/><ref>[http://www.chesternovello.com/default.aspx?TabId=2431&State_2905=2&ComposerId_2905=248 "Francis Chagrin"], Chester Novello, accessed 19 March 2011</ref> As a teacher he was conservative but always encouraging of talent, telling one student, "It's obvious that you really love music. Always remember that it should be written from the heart and not with the head."<ref name=blakeman/> He said his method of teaching was "to help young musicians to express themselves in accordance with their own natures. Music necessarily has to express something; it is also obliged to express somebody, namely, its composer."<ref name=mq/> ''Grove'' observes that his wide knowledge of the history of European music, and his editorial work on Rameau, Scarlatti and Beethoven, gave him "particular authority in teaching historical styles".<ref name=grove/>

After ''La Péri'', Dukas completed no new large-scale compositions, although, as with his contemporary [[Jean Sibelius]], there were frequent reports of major work in hand.<ref name=pog>Walsh, p. 110</ref> After several years of silence, in 1920 he produced a tribute to his friend Debussy in the form of ''La plainte, au loin, du faune...'' for piano, which was followed by ''Amours'', a setting of a sonnet by [[Pierre de Ronsard]], for voice and piano, published in 1924 to mark the four hundredth anniversary of the poet's birth.<ref name=mm/> Shortly before his death he had been working on a symphonic poem inspired by [[William Shakespeare|Shakespeare's]] ''[[The Tempest]]'',<ref name=mm/> a play of which he had made a French translation in 1918 with an operatic version in mind.<ref name=grove/>

In the last year of his life Dukas was elected to membership of the [[Académie des Beaux-Arts]].<ref name=pog/> Though adhering to neither the progressive nor conservative factions among French musicians of the era, Dukas had the friendship and respect of both.<ref name=mt/> In 1920, [[Vincent d'Indy]] published a study of Dukas's music;<ref name=grove/> Debussy remained a lifelong friend, though feeling that Dukas's music was not French enough;<ref name=pog/> Saint-Saëns worked with Dukas to complete an unfinished opera by Guiraud, and they were both engaged in the rediscovery and editing of the works of [[Jean-Philippe Rameau]];<ref name=mq/> [[Gabriel Fauré|Fauré]] dedicated his Second Piano Quintet to Dukas in 1921.<ref>Jones, p. 207</ref>

In 1920, he became a member of the [[Royal Academy of Science, Letters and Fine Arts of Belgium]].<ref>Index biographique des membres et associés de l'Académie royale de Belgique (1769-2005). p 104</ref>

Dukas died in Paris in 1935, aged 69. He was cremated and his ashes were placed in the [[columbarium]] at [[Père Lachaise Cemetery]] in Paris.<ref>Cimetière du Père Lachaise. Plot: Division 87 (columbarium), urn 4938</ref>

==List of works==

===Published by the composer===
* ''[[Polyeucte (Dukas)|Polyeucte]]'', overture for orchestra (1891)
* [[Symphony in C (Dukas)|Symphony in C]] (1895–96)
* ''[[The Sorcerer's Apprentice (Dukas)|The Sorcerer's Apprentice]]'', for orchestra (1897)
* [[Piano Sonata (Dukas)|Piano Sonata in E-flat minor]] (1899–1900)
* ''[[Variations, Interlude and Finale on a Theme by Rameau]]'', for piano (c.1899–1902)
* ''[[Ariane et Barbe-bleue]]'', opera (1899–1907)
* ''Villanelle'', for horn and piano (1906)
* ''Prélude élégiaque sur le nom de Haydn'', for piano (1909)
* ''Vocalise-étude (alla gitana)'', for voice and piano (1909)
* ''[[La Péri (Dukas)|La Péri]]'', ballet (poème dansé) (1911; later supplemented with ''Fanfare pour précéder La Péri'' (1912))
* ''La plainte, au loin, du faune...'', for piano (1920)
* ''Amours'', sonnet for voice and piano (1924)
* ''Allegro'', for piano (1925)
* ''Modéré'', for piano (?) (1933; published posthumously in 1936)

===Early unpublished works===
* ''Air de Clytemnestre'', for voice and small orchestra (1882)
* ''Goetz de Berlichingen'', overture for orchestra (1883)
* ''Le roi Lear'', for orchestra (1883)
* ''Chanson de Barberine'', for soprano and orchestra (1884)
* ''La fête des Myrthes'', for choir and orchestra (1884)
* ''L'ondine et le pêcheur'', for soprano and orchestra (1884)
* ''Endymion'', cantata for three solo voices and orchestra (1885)
* ''Introduction au poème "Les Caresses"'', for piano (1885)
* ''La vision de Saül'', cantata for three solo voices and orchestra (1886)
* ''La fleur'', for choir and orchestra (1887)
* Fugue (1888)
* ''Hymne au soleil'', for choir and orchestra (1888)
* ''Velléda'', cantata for three solo voices and orchestra (1888)
* ''Sémélé'', cantata for three solo voices and orchestra (1889)

===Destroyed and projected works===
* ''Horn et Riemenhild'', opera (1892)
* ''L'arbre de science'', opera (1899)
* ''Le fil de parque'', symphonic poem (c.1908)
* ''Le nouveau monde'', opera (c.1908–1910)
* ''Le sang de Méduse'', ballet (1912)
* Symphony No. 2 (after 1912)
* Violin Sonata (after 1912)
* ''La tempête'', opera (c.1918)
* ''Variations choréographiques'', ballet (1930)
* An untitled orchestral work for Boston Symphonic Orchestra (1932)

==Notes==
{{reflist}}

==References==
*{{cite book | last=Jefferson | first=Alan | title=Sir Thomas Beecham: A Centenary Tribute | location=London | publisher=Macdonald and Jane's | year=1979| isbn=0-354-04205-X}}
*{{cite book | last=Jones | first=J. Barrie | title=Gabriel Fauré: A Life in Letters | location=London | publisher=B. T. Batsford| year=1909| isbn=0-7134-5468-7}}
* {{cite book|chapter=Paul Dukas|title=The Music Masters|author=Lockspeiser, Edward|editor=Bacharach, A. L.|location=Harmondsworth|publisher=Pelican Books|year=1957|oclc=655768838}}
* {{cite book|chapter=Paul Dukas|title=The Penguin Opera Guide|author=Walsh, Stephen|editor=Holden, Amanda|location=London|publisher=Penguin Books|year=1997|isbn=0-14-051385-X|url-access=registration|url=https://archive.org/details/operaguidepengui00nich}}
*{{cite book | last=Watson | first=Laura | title=Paul Dukas: Composer and Critic | location=Woodbridge | publisher=Boydell| year=2019| isbn=978-1-787445109}}

==External links==
{{commons category}}
*[http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=DukasP Free scores] at the [[Mutopia Project]]
*{{IMSLP|id=Dukas, Paul|cname=Paul Dukas}}

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