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Charles Koechlin
Born: November 27, 1867; Paris, France
Died: December 31, 1950; Le Canadel, Var, France
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Though his reputation as a composer has remained rather isolated in the decades since his death, Charles Koechlin enjoyed a prominent place in the French music scene in the first half of the twentieth century. Born in Paris on November 27, 1867, Koechlin began formal musical studies at the Paris Conservatory in 1890. His teachers there included Massenet and Fauré; the latter ultimately proved the greatest influence upon Koechlin's uncomplicated
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Works
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Adagio, Op. 102 (1)
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Adagio, Op. 211 (1)
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Andante con moto for Piano (1)
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Andante, calme e très expressif (1)
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Au Loin, Op. 20 (1)
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Ballade for Piano and Orchestra, Op. 50 (1)
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Chansons (20) bretonnes for Cello and Piano, Op. 115 (1)
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Chansons (7) pour Gladys, Op. 151 (2)
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Chant funèbre à la mémoire des jeunes femmes défuntes, Op. 37 (2)
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Choral final du Requiem, Op. 121 (1)
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Choral for Organ in F minor, Op. 90b (2)
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Choral sur le nom de Fauré (2)
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Choral sur une basse donnée de Renée Philippart, Op. 98a (1)
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Dans la forêt antique for Flute (1)
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Danses (5) pour Ginger Rogers, Op. 163 (2)
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Divertissement for 2 Flutes and Alto Flute/Clarinet, Op. 91 (1)
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Epitaphe de Jean Harlow, Op. 164 (2)
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Esquisses (24) for Piano, Op. 41 (1)
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Esquisses (24) for Piano, Op. 41: Excerpt(s) (1)
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Etudes (15) for Alto Saxophone and Piano, Op. 188 (3)
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Etudes (5) antiques, Op. 43: no 2, Soir au bord du lac (1)
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Etudes (5) antiques, Op. 43: no 3, Le cortège d’Amphitrite (1)
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Etudes (5) antiques, Op. 46: no 4, Epitaphe d’une jeune femme (1)
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Fugue Modale Op. 240b (1)
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Fugue, Op. 133 no 2 (1)
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Hommage a Gabriel Fauré, for piano (1)
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Idylle, Op. 155/2 (2)
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L'Abbaye, Part 1, Op. 16 (1)
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L'ancienne maison de campagne, Op. 124 (1)
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La course de printemps, Op. 95 (3)
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La loi de la jungle, Op. 175 (2)
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La méditation de Purun Bhagat, Op. 159 (2)
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Le buisson ardent, part 1, Op. 203 (1)
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Le buisson ardent, part 2, Op. 171 (1)
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Le docteur Fabricius, Op. 202 (1)
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Le Docteur Fabricius, symphonic poem after Charles Dollfus, Op. 202: Choral Final (1)
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Le portrait de Daisy Hamilton, Op. 140 (1)
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Les bandar-log, Op. 176 (5)
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Les bandar-log, Op. 176: Excerpt(s) (1)
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Les chants (6) de Kervéléan, Op. 197 (1)
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Les chants de nectaire (1)
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Les chants de nectaire: Excerpt(s) (1)
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Les chants de nectaire: Hymne du philosophe devant... (1)
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Les confidences d'un joueur de clarinette, Op. 141 (3)
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Les heures persanes for Piano, Op. 65 (4)
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Les heures persanes for Piano, Op. 65: En vue de la ville (1)
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Little Pieces (4) for Horn, Violin and Piano, Op. 32 (3)
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Mélodies (2), Op. 68: no 1, Hymne à Venus (1)
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Mélodies (3), Op. 17: no 2, La prière du mort (1)
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Mélodies (3), Op. 17: no 3, Epiphanie (1)
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Mélodies (4), Op. 22: no 1, La chanson des ingénues (1)
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Mélodies (4), Op. 35: no 2: Améthyste (1)
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Mélodies (5), Op. 5: no 5, Si tu le veux (7)
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Mélodies (6) sur des poesies d’Samain, Op. 31: no 1, Le sommeil de Canope (1)
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Mélodies (6), Op. 31: no 2, Le cortége d'Amphitrite (1)
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Mélodies (6), Op. 31: no 5, Le repas préparé (1)
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Mélodies (6), Op. 31: no 6, Amphise et Melitta (2)
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Monodies (11), Op 216: no 10 for Oboe d'Amore/Clarinet/Soprano Saxophone "Le Repos de Tityre" (3)
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Monodies (11), Op. 216: no 11 for English Horn (1)
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Monodies (2), Op. 213 (1)
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Nocturnes (2) for Flute, Horn and Piano/Harp, Op. 32bis (1)
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Nocturnes (2), Op. 72 bis (1)
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Offrande musicale sur le nom de Bach, Op. 187 (1)
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Pastorales (12), Op. 77 (1)
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Paysages et marines for Piano, Op. 63 (1)
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Piano Quintet, Op. 80 (1)
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Pièce de flûte pour lecture à vue, Op. 218 (2)
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Piece for Piano, Op. 83bis (1)
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Piece pour orgue, Op. 226 (1)
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Pieces (14) for Flute and Piano, Op. 157 (1)
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Pieces (14) for Flute and Piano, Op. 157: no 2 (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 1, Andante con moto (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 10, Allegro, très décidé (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 13, Adagio à la blanche (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 2, Allegretto pas vite (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 3, Andante (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 4, Allegro, assez animé (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 5, Très doux, presque adagio (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 6, Allegretto con moto (1)
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Piéces (14) for Oboe/Oboe d'Amore/English Horn and Piano, Op. 179: no 7, Andante presque adagio (1)
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Pieces (15) for Horn and Piano, Op. 180 (1)
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Pieces (15) for Horn and Piano, Op. 180: no 7, Andante (1)
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Pieces (3) for Bassoon and Piano, Op. 34 (1)
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Pieces (4) for Clarinet and Piano (1)
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Poème for Horn and Orchestra, Op. 70 no 2 (3)
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Poèmes (2) d’André Chénier, Op. 23: no 1, La jeune Tarentine (1)
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Poèmes (3) du "Livre de la Jungle," Op. 18 (1)
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Poèmes (3) du "Livre de la Jungle," Op. 18: no 1, Berceuse phoque (1)
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Poèmes (3) du "Livre de la Jungle," Op. 18: no 2, Chanson de nuit dans la jungle (1)
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Poèmes (3) du "Livre de la Jungle," Op. 18: no 3, Chant de Kala Nag (1)
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Poèmes (4) d'Haraucourt, Op. 7 (1)
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Poèmes (4) d'Haraucourt, Op. 7: no 4, Aux temps des fées (2)
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Poèmes d'automne, Op. 13: no 1, Déclin d'amour (2)
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Poèmes d'automne, Op. 13: no 2, Les rêves morts (1)
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Premier album de Lilian, Op. 139 (1)
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Quatre Chorals, Op. 98 (1)
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Quintet for Flute, Harp, Violin, Viola and Cello no 2, Op. 223 (1)
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Rondels (5), Op. 1: no 2, La nuit (1)
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Rondels (5), Op. 1: no 3, Le thé (1)
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Rondels (5), Op. 1: no 4, Le printemps (1)
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Rondels (5), Op. 1: no 5, L'été (1)
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Rondels (7), Op. 8: no 2, L'hiver (2)
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Rondels (7), Op. 8: no 4, La lune (1)
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Rondels (7), Op. 8: no 5, L'air (1)
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Second album de Lillian, Op. 149 (1)
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Septet for Winds, Op. 165 (1)
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Seven Stars' Symphony, Op. 132 (1)
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Son for Bassoon and Piano, Op. 71 (1)
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Sonata for 2 Flutes, Op. 75 (3)
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Sonata for Bassoon and Piano, Op. 71 (1)
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Sonata for Cello and Piano, Op. 66 (1)
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Sonata for Clarinet and Piano no 1, Op. 85 (1)
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Sonata for Clarinet and Piano no 2 in B flat major, Op. 86 (1)
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Sonata for Flute and Piano, Op. 52 (4)
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Sonata for Horn and Piano, Op. 70: 2nd mvt, Andante (1)
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Sonata for Oboe and Piano, Op. 58 (2)
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Sonata for Viola and Piano, Op. 53 (2)
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Sonata for Violin and Piano, Op. 64 (1)
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Sonatinas (4) for Piano, Op. 87 (2)
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Sonatinas (5) for Piano, Op. 59 (1)
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Sonatinas (5) for Piano, Op. 59: no 2 (1)
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Sonatinas (5) for Piano, Op. 59: no 3 (1)
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Sonatine modale for Flute and Clarinet, Op. 155a (1)
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Sonatines (2) for Oboe d'Amore/Soprano Saxophone and Chamber Orchestra, Op. 194 (1)
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Sonatines (2) for Oboe d'Amore/Soprano Saxophone and Chamber Orchestra, Op. 194: no 1 (1)
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Sonatines (2) for Oboe d'Amore/Soprano Saxophone and Chamber Orchestra, Op. 194: no 2 (2)
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Sonatines (3) for Organ, Op. 107 (2)
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Sonatines françaises (4) for 2 Pianos, Op. 60 (1)
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String Quartet No. 3, Op. 72 (1)
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Suite en quatuor for Flute, Viola, Violin and Piano, Op. 55 (1)
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Suite for 2 Pianos, Op. 19 (1)
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Suite for 2 Pianos, Op. 6 (1)
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Suite for 2 Pianos, Op. 6: 3rd movement, Andantino con moto (1)
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Symphonic Pieces (2), Op. 20: no 2, Au loin (2)
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Symphonic Poems (2), Op. 43: Vers la lointaine (1)
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Trio for Flute/Oboe, Clarinet and Bassoon in G major, Op. 92 (1)
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Vers la voûte étoilée, Op. 129 (1)
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Vocalises (2) for Organ, Op. 212b (1)
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| More Featured Charles Koechlin CDs & DVDs: |
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Biography |
by Michael Rodman
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Though his reputation as a composer has remained rather isolated in the decades since his death, Charles Koechlin enjoyed a prominent place in the French music scene in the first half of the twentieth century. Born in Paris on November 27, 1867, Koechlin began formal musical studies at the Paris Conservatory in 1890. His teachers there included Massenet and Fauré; the latter ultimately proved the greatest influence upon Koechlin's uncomplicated but colorful, mildly Impressionistic style. In 1918, Satie welcomed him into Les nouveaux jeunes, a short-lived collective of young French composers (including Roussel and Milhaud) that ultimately metamorphosed into Les Six.
In his lifetime, Koechlin was more widely known for his work as a theorist and teacher than for his own music. His writings include a multi-volume treatise on orchestration, one of the most extensive of its kind. Among his students were two members of Les Six, Germaine Tailleferre and Francis Poulenc, as well as film and television composer Lalo Schifrin. Koechlin's skill and reputation as an orchestrator were considerable. Saint-Saëns, Fauré, and Debussy entrusted to him the orchestration of a number of their own works, including most of Debussy's first ballet, Khamma (1911-1912). Koechlin traveled widely as a lecturer on music, including three tours in the United States. After a career that encompassed every aspect of French musical life, he died in Le Canadel, France, on New Year's Eve 1950.
While Koechlin's music is not as distinctive in its dramatic, structural, or formal profile as that of contemporaries like Debussy or Ravel, it nonetheless bears the stamp of an unusual personality. Many of his works are conspicuously sectional and almost improvisatory in the manner in which they unfold; his melodies in particular tend toward unrestricted, continual motion. Harmony and instrumental color are generally at the fore in Koechlin's music, which is perhaps most effective in the way it creates exquisitely shaded atmospheres. The composer wrote prolifically and for nearly every medium -- except, tellingly, for the operatic stage -- but carved out a quirky compositional niche that remains unique. Prefiguring multi-work "literary" cycles like American composer David Del Tredici's Alice in Wonderland series, Koechlin produced seven interrelated works based on Kipling's The Jungle Book. Perhaps unexpectedly, given his sober, messianic appearance, he also harbored a virtual mania for the cinema, which he translated into a number of works inspired by various silver-screen personalities. He celebrated the icons of Hollywood's Golden Age in works like Five Dances for Ginger [Rogers] (1937) and Epitaphe de Jean Harlow (1937), but his most stimulating muse was apparently English-German actress Lilian Harvey (1906-1968). Initially flattered by Koechlin's hommages, which included more than a hundred works, including two "Lilian Albums," Harvey eventually grew uneasy with his seeming obsession. She also enjoys a place of honor in what is likely the most famous (if not generally familiar) of Koechlin's works, the Seven Stars Symphony (1933). Neither astrological nor astronomical in inspiration, the symphony is instead a suite of tone poems, each an evocative portrait of a leading screen figure of the day: Douglas Fairbanks, Harvey, Greta Garbo, Clara Bow, Marlene Dietrich, Emil Jannings, and Charlie Chaplin. |
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