Paul Dukas


Born: October 1, 1865; Paris, France   Died: May 17, 1935; Paris, France  
Paul Dukas' music, like his life, straddled the Romantic and modern periods (and encompassed a still wider range of influences), and he remained true to classical structures well into the twentieth century. Born in 1865 to the family of a cultured Parisian banker, he was the second of three children; his mother was the musician in the family, and she died when he was five. He studied the piano without displaying special aptitude in music until he Read more was 14. While convalescing from an illness, he started composing, and from that point on, he gravitated toward music, enrolling at the Paris Conservatoire when he was 16. He studied harmony, piano, conducting, and orchestration, and at 17, he wrote his first two adult compositions, overtures to Goethe's Götz von Berlichingen and Shakespeare's King Lear. He formally studied composition with Ernest Guiraud but left the conservatory in 1888, frustrated over his inability to win any prizes for his early work and being confronted by the military draft. Following his service in the army, he returned to civilian life as a critic and composer, enjoying his first success in the latter capacity in 1892 with the premiere of his overture Polyeucte. The same year, he began the first of several attempts to compose an opera, but he was to see no success in that genre for years to come; rather, he wrote his two most well-known instrumental works: the Symphony in C (1896) and The Sorcerer's Apprentice (1897). The latter, based on Goethe's "Der Zauberlehrling," became one of the most popular orchestral works of the late Romantic era with its rich coloration, and it was quickly taken into the repertory of conductors around the world. For the next decade, he devoted himself to an opera, Ariane et Barbe-bleue, based on the work of Maurice Maeterlinck, while continuing to write criticism and completing his Sonata for piano in E flat minor (1900). Dukas completed his ballet La Péri in 1912, but his later output was blighted by an increasingly self-critical outlook, which caused him to abandon and destroy many works. Only four pieces from the last 23 years of his life ever saw the light of day. In his final decades, Dukas achieved renown as a teacher and his students included Messiaen and Duruflé. In 1940, five years after his death, Dukas and The Sorcerer's Apprentice became enshrined in American popular culture through the use of the work in the movie Fantasia. Read less

There are 190 Paul Dukas recordings available.

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Paul Dukas

Act I: A mort! A mort! (Crowd)
Act I: Ou sommes-nous? (The Nurse, Ariane)
Act I: Que faites-vous? (The Nurse, Ariane)
Act I: Prenez-les! Penchez-vous! (The Nurse, Ariane)
Act I: Ce sont de beaux saphirs (Ariane, The Nurse)
Act I: J'en recueille une poignee pour qu'elles caressent les saphirs! (The Nurse, Ariane)
Act I: Oh! celles-ci sont plus vertes que le printemps (The Nurse, Ariane)
Act I: Celles-ci sont terribles, et je n'y touche point (The Nurse, Ariane)
Act I: O mes clairs diamants! (Ariane, The Nurse)
Act I: Ariane, que faite-vous? (The Nurse, Ariane, Underground Chant)
Act I: Vous aussi? (Bluebeard, Ariane)
Act I: Que voulez-vous? (Ariane)
Act II: Prelude
Act II: Ecoutez! (The Nurse, Ariane)
Act II: Ah! Je vous ai trouvees! (Ariane)
Act II: Comment s'apelle celle qui revient? (Ariane, Selysette, Ygraine)
Act II: Mais celle qui me regarde a travers ses cheveux (Ariane, Selysette)
Act II: Ou etes vous? (Ariane, Selysette, Bellangere, Melisande, Ygraine)
Act II: Voila, celle-ci encore et encore celle-ci! (Ariane)
Act II: Je vois la mer! (Selysette, Melisande, Ygraine, Bellangere, Ariane)
Act III: Prelude
Act III: Nous n'avons pu sortir du chateau enchante (Selysette, Melisande, Ariane, Ygraine)
Act III: Cela vient d'elle-meme et se cachait en elle (Ariane, Ygraine, Belangere)
Act III: Quelles bagues choisirai-je? (Selysette, Ariane, Bellangere)
Act III: Il revient! Il est la! (The Nurse, Ariane, Selysette, Melisande)
Act III: Voila les paysants qui sortent des fosses (The Nurse, Selysette, Melisande, Ygraine, Ariane)
Act III: Non! Pas cela! Ne le tuez pas! (Ariane, All the Women, The Nurse, Crowd)
Act III: Madame? ... Om peut entrer? (Old Peasant, Second Peasant, Third Peasant, Ariane)
Act III: Vous etiez a genoux! (Ariane, Selysette, Melisande, Ygraine, The Nurse, Bellangere)
Act III: Adieu (Ariane, Selysette, Melisande, Bellingere)
Moderement vite
Calme - un peu lent - tres soutenu
Vivement, avec legerete
Tres lent - anime
Symphony in C Major: I. Allegro non troppo vivace, ma con fuoco
Symphony in C Major: II. Andante espressivo e sostenuto
Symphony in C Major: III. Allegro spiritoso
Theme menuet
Variation 1: tendrement
Variation 2: assez vif tres rythme
Variation 3: sans hate delicatement
Variation 4: un peu anime avec legerete
Variation 5: lent
Variation 6: modere
Variation 7: assez fig
Variation 8: tres modere
Variation 9: anime
Variation 10: sans lenteur bien marque
Variation 11: sombre assez lent
Finale (var. 12): moderement anime

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