Paul Dukas


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Synonyms for Paul Dukas

French composer (1865-1935)

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References in periodicals archive ?
But whereas Paul Dukas seems to have been the error of his ways when he edited a second volume (vol.
1997], Piece pour le tombeau de Paul Dukas [piano, 1935; pub.
Supraphon Archiv): Paul Dukas is saddled with the reputation of being a one-horse composer, his 1897 tone-poem L'Apprenti Sorcier being a staple of so many concert programmes, as well as, of course, furnishing the wonderful Mickey Mouse episode in Walt Disney's original and unsurpassable Fantasia.
He moved to Paris in 1927 and studied under Paul Dukas.
The two works on the program with a Halloween theme are "The Sorcerer's Apprentice" by Paul Dukas and "Till Eulenspiegel's Merry Pranks," a tone poem by Richard Strauss.
A close friend of Claude Debussy, he wrote the composer's first French biography (Claude Debussy [Paris: Les Bibliophiles fantaisistes, 1909; reprint, Paris: Aux Armes de France, 1944]), and he wrote astutely about many other composers as well, among them Paul Dukas, Jean-Philippe Rameau, Maurice Ravel, Igor Stravinsky, and Erik Satie.
Entre los poquisimos aciertos de tan paquidermica administracion se contaba un montaje de Las Indias Galantes (1735) de Rameau (1683-1764), opera transcrita y --admirablemente-- reorquestada por Paul Dukas (1865-1935).
The 22-year-old jazz pianist was born and raised in Paris, where at age 6 he started studying classical piano at the Paris Paul Dukas Conservatory.
Walton was a hesitant composer, a perfectionist in the mold of Maurice Ravel or Paul Dukas, who literally suffered over every note that he committed to paper.
Por ejemplo: mediante una balada de, Goethe (1749-1832) como punto de partida, Paul Dukas (1865-1935) compone en 1897 su scherzo para orquesta El aprendiz de brujo, cuya lozania colorida permanece intacta.
The paradox here is that, despite Alb[acute{e}]niz's rejection of the Spanish music establishment, in Iberia he ultimately created an idealized Spain, one that elevated the stock gestures of Spanish popular music and combined them with the bold harmonic language of Claude Debussy and Paul Dukas.
Ecos patentes: El Dios Azul (1912), para la compania de los ballets rusos de Diaghilev (1872-1929), con musica de Reynaldo Hahn (1875-1947), coreografia de Fokin (1880-1942) y Nijinsky (1890-1950) en el papel protagonico; tanto como La Peri (1912) sobre una partitura maravillosa de Paul Dukas (1865-1935); al igual que La Tragedia de Salome (1907), estrenada por Louie Fuller (1862-1928) y repuesta en 1909 por Ida Rubinstein (1885-1960), con una musica igualmente esplendida de Florent Schmitt (1870-1958).
21 and 23); his associations with Gabriel Faure, Vincent d'Indy, Deodat de Severac, and other Paris-based composers; the influence of Paul Dukas (p.
which, in addition to the "classics" Camille Saint-Saens, Vincent D'Indy, Paul Dukas, Gabriel Faure, Cesar Frank, and Claude Debussy, resuscitates many forgotten French composers who contributed to the symphonic poem, such as Henri Rabaud (pp.
Faust, Call and Response for Solo Horn; Paul Dukas, Villanelle; Camille Saint-Saens, Romance op.