Doctoral Lecture Recital: 2007-07-21 - Christopher Astilla, piano

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  1. Track One 0:12:16
  2. Track Two 0:02:38
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  5. Track Five 0:02:37
  6. Track Six 0:02:53
  7. Track Seven 0:02:14
  8. Track Eight 0:19:16

Description

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

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1 recording (47 min., 34 sec.)

Creation Information

Astilla, Christopher July 21, 2007.

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This audio recording is part of the collection entitled: College of Music Recordings and was provided by the UNT Music Library to the UNT Digital Library, a digital repository hosted by the UNT Libraries. It has been viewed 84 times. More information about this recording can be viewed below.

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Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

Physical Description

1 recording (47 min., 34 sec.)

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"Between the Staves": Adaptations of Debussy's Six Épigraphes Antiques and Creative Tasks of the Performer

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College of Music Recordings

The College of Music Recordings include doctoral, ensemble, faculty, guest, and senior recitals from the UNT College of Music. Access to these recordings is restricted to the UNT community.

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"Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer (Thesis or Dissertation)

"Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer

The Six épigraphes antiques represent a cross-section of Debussy's creative output that traces the composer's germ-seed from his original setting of the work in 1901 as incidental music to accompany the recitation of several poems, to the four-hand piano version of 1914, and its consequent reduction for solo piano. What can be gleaned by the methods of derivation from his original sketches to the final, mature works is an understanding of Debussy's use of musical metaphor and his connection to the poetry - the Chansons de Bilitis of Pierre Louÿs. Embedded literary procedures create a new musical expression of the work whereby text and music become integrated. Rather than serving as accompaniment to the poems, the Épigraphes function as the primary vessel for the conveyance of these ancient scenes. Several of Debussy's hallmark symmetrical and structural moulds, such as the whole-tone, chromatic, octatonic, and mirroring techniques reflect the omnipresent symmetry of Classical Greece. Various other artistic creations emanated from the Épigraphes, most significantly the orchestration of Ernest Ansermet in 1939. A look at the techniques used by Ansermet for the augmentation of the piano work serves to extrapolate the multifarious layers relevant in performance. In order to facilitate the four-hand version for solo piano, Debussy used a variety of reductive methods. There are, however, means by which some of the extracted material might be restored to the solo version. Like the late work of many great masters, the Épigraphes are redolent of the tendency so many artists have near the end of their days - to revert back to the purest techniques of their language. The scoring of Debussy's Épigraphes is scaled back, compared to his Préludes (often consisting of three staves of notation), and incorporates leaner textures generated from lapidary motifs which transmit the antique realms evoked by the poetry of Louÿs.

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Dissertation: ark:/67531/metadc5205

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  • July 21, 2007

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Added to The UNT Digital Library

  • Jan. 5, 2009, 6:01 p.m.

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  • May 3, 2023, 10:22 a.m.

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  • 33.210701, -97.150088

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Astilla, Christopher. Doctoral Lecture Recital: 2007-07-21 - Christopher Astilla, piano, audio recording, July 21, 2007; Denton, Tx. (https://digital.library.unt.edu/ark:/67531/metadc6362/: accessed March 19, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Music Library.

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