Paris 1-X-1865-ibid 17-V-1935
After completing his studies at the Parisian Conservatory, he was a conducting teacher since 1909 and a composition teacher since 1913, dedicating himself at the same time to a critical activity of considerable interest. He was a careful composer of the evolution of the music of his time, a master of a very rich orchestral palette.
Moreover, a strong dose of self-criticism allowed him to complete a relatively limited number of compositions. He had considerable influence on the French music of our century, not only with his very appreciated teaching work (his student was also Messiaen) but also with his own production that happily was able to blend influences of German romanticism with the French tradition from Franck to Debussy.
In addition to the poem Danced La Péri (1912), to a "lyrical story," to the symphony in Do and the wizard apprentice, which we will say later, Dukas wrote three overtures today almost wholly forgotten, different pieces for piano and some lyrics His critical writings were collected in volume (Paris 1948).
The sorcerer apprentice (The learning sorcier)
Joke for orchestra from a ballad of Goethe (1897) - Who does not know this composition, the only Dukas that has become truly popular worldwide? It is inspired by a Goethe ballad, derived from a playful story already known in Greek antiquity. The sorcerer apprentice, left alone by his teacher, uses a magical formula to impose his will on a broom, which begins to draw water to the river. But when the young man would like to arrest the work, he does not remember the formula, and only the return of the sorcerer manages to avoid the flood and end up with the duty of the broom.
The beginning of the "joke" already presents the two main themes of the whole piece: The second, above all, is destined to perform a principal function throughout the score, soon exposed by the bundles with the well-known grotesque effect. From this theme, it derives another also lively, which seems to contrast - as a representation of the carefree apprentice - to the most significant themes of the spells; Also, in the initial part, there is a sort of fanfare, which will reappear even later and has the meaning of a heartfelt appeal addressed by the young imprudent to his teacher.
All these themes - moreover strictly similar to each other - give life to a series of brilliant developments, full of grotesque humor that has remained and can be said to be unique in the history of symphonic music of the last 19th century. But there is also the fantastic art of orchestration, which preludes Debussy, the deliberation of the stamp, and the ability to generate unpublished and often surprising atmospheres. Well, to right this "symphonic joke" is considered Dukas's masterpiece; And it is not without meaning that Stravinski himself has resentful the influence in more than one of his youth scores.
