Paul Dukas would never have become famous without his
L'Apprenti Sorcier. The orchestral scherzo provided one of the funniest scenes in Walt Disney's Fantasia, featuring Mickey Mouse as the sorcerer's apprentice. But otherwise the audience did not take much note of Dukas' music. That was mostly down to the man himself. Perfectionism and self-criticism inhibited his creativity. His interest in
… composing faded when he missed out on the prestigious Prix de Rome. Music criticism, teaching and philosophical study became attractive alternatives for him. Messiaen and Duruflé were among his most important students. Despite all this, then, came that small body of work of some 13 compositions. Among them the monumental Sonata for Piano (premiere 1901). In terms of style and expression, the work balances somewhere between Franck and an early Fauré. There is something reserved about the music, despite its exuberant virtuosity. But man, what a job he has done on it, as if Beethoven and Liszt were hot on his heels. As much as three quarters of an hour, this work manages to transport the listener, at least if they open themselves to it. In the last movement, the music actually starts to sing, courtesy of Liszt. (HJ)more
