Charles Koechlin(1867-1950)

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For some reason, I always find a composers chamber works to speak louder in displaying their compositional talents, sort of a final test for me when I explore a new composer. 

I know there are discs of Koechlin music for clarinet and oboe, anyone have these discs? Or heard them at least?

I own most of the Koechlin chamber music recordings. I have not heard that disc with his Piano Quintet. As far as the disc with clarinet, it is very nice. I haven't heard, or own, the one for oboe. Koechlin wrote some lovely chamber music like his Epitaph for Jean Harlow a short work (around 3 minutes in duration) for flute, saxophone, and piano, which is one of my favorite chamber works by him. The recording for saxophone and piano on Chandos is quite nice. My honest opinion, though, is Koechlin wrote more compelling orchestral music. As great as his chamber music is, it doesn't offer the kind of palette that his music truly needs.

[TheGSMoeller]

I own most of the Koechlin chamber music recordings. I have not heard that disc with his Piano Quintet. As far as the disc with clarinet, it is very nice. I haven't heard, or own, the one for oboe. Koechlin wrote some lovely chamber music like his Epitaph for Jean Harlow a short work (around 3 minutes in duration) for flute, saxophone, and piano, which is one of my favorite chamber works by him. The recording for saxophone and piano on Chandos is quite nice. My honest opinion, though, is Koechlin wrote more compelling orchestral music. As great as his chamber music is, it doesn't offer the kind of palette that his music truly needs.

Thanks, MI. 

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Thanks, MI. 

You're welcome.

[Mr Bloom]

I know I've mentioned this before, but Koechlin's Piano Quintet Op. 80 is wonderful, I don't see much discussion about it. In fact, there may only be one recording of the piece.

There are at least three recordings of his Piano Quintet, which is probably Koechlin's masterpiece in chamber music, and maybe even his best work.
The two others recordings of the quintet I know are on Quantum and Cybelia, but have become quite hard to find I think.

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There are at least three recordings of his Piano Quintet, which is probably Koechlin's masterpiece in chamber music, and maybe even his best work.
The two others recordings of the quintet I know are on Quantum and Cybelia, but have become quite hard to find I think.

What are your favorite Koechlin orchestral works?

[TheGSMoeller]

There are at least three recordings of his Piano Quintet, which is probably Koechlin's masterpiece in chamber music, and maybe even his best work.
The two others recordings of the quintet I know are on Quantum and Cybelia, but have become quite hard to find I think.

It is a wonderful piece, Mr. Bloom.

I also picked up a recording of Quintet for flute, harp and string trio, Op. 223, another lovely work.

[Mirror Image]

A few notes on the symphonic poem Les Bandar-log:

Koechlin was fascinated with Rudyard Kipling's "The Jungle Book", and he composed a cycle of orchestral works based on it. This tone poem is the last composition in the Jungle Book cycle, but it is not merely a depiction of the langur monkeys which Kipling calls the "Bandar-log"; the work is also a scathing parody of the world of contemporary music, including twelve-tone and atonal music. Koechlin made the following analogy with regard to the apes in "Les Bandar-log":

"They think of themselves as creative geniuses, but are really nothing more than vulgar copyists whose only interest is to adopt to the fashion of the day. It is said that there is also something of the kind in the world of the artist."

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I found this short biography that will give newcomers of Koechlin's music some basic background:

Born into a wealthy family of Alsatian textile magnates, Charles Louis Eugène Koechlin (November 27, 1867 - December 30, 1950) prepared to become an artillery officer but contracted tuberculosis which rendered him unfit for service. While recuperating in Algeria, the music bug hit him and pushed him into the Paris Conservatoire at the relatively late age of 23. He studied counterpoint with one of that institution's great teachers, André Gedalge (who also taught Maurice Ravel, among others) and composition with Jules Massenet and Gabriel Fauré. Fauré provided his compositional ideal.

Early on, Koechlin lived a comfortable life but ran into increasing financial burdens, which compelled him to spend a lot of time as a writer on music theory and as a private teacher. Indeed, during his life, he was probably better known as a theoretician. Furthermore, there was nothing he didn't know about technique. Debussy asked him to orchestrate his ballet Khamma (all but the prelude). He also provided the standard orchestrations for Fauré's Pellés et Mélisande and Emmanuel Chabrier's Bourrée fantasque. Poulenc went to him for lessons in orchestration and form.

Koechlin's music is so various, so eager to try different styles and to move to different inspirations (sometimes in the same piece) that one discerns a singular voice with difficulty. His muse sings as abundantly as Hector Berlioz's, but with a jaw-dropping variety. He excelled in every genre he tried – chamber music, song, ballet, and orchestral, with the exception of the symphony. His symphonies are either sui generis, rather than classical, or orchestrations of earlier pieces. His tone poems on Kipling's Jungle Book, particularly Les bandar-log, run a gamut of contemporary and just-past styles – Impressionism, neo-classicism, 12-tone serialism, and so on. Containing most of these styles, Les bandar-log may have begun in satirical intent, but the humor ultimately has no meanness in it. His Seven Stars Symphony (inspired by his favorites of the silver screen) delights in its unabashed fandom. The Chaplin finale in particular captures the wit of the comedian. Koechlin had a penchant for large-scale works, but his communist sympathies, especially during the Thirties (he never officially joined the Party), also prodded him to produce smaller-scaled and more directly communicative work like the 12 petites pièces très faciles and the 4 nouvelles sonatines, both for piano.

I supposed the oddest thing about Koechlin was his adoration of film stars, particularly a German-French actress, Lilian Harvey (born in England), almost completely forgotten today. He wrote several pieces to her and made his wife (!) write her several times to set up a meeting face to face. Later on, Ginger Rogers, who in her early film career resembled Harvey, also became a favorite.

Koechlin never received all that many performances while he lived, although the top composers in France greatly respected him. It is the modern recording that has allowed us to see why Fauré, Claude Debussy, Darius Milhaud, Albert Roussel, and Manuel de Falla made such a fuss.

[Article taken from Classical.net]

[karlhenning]

. . . the work is also a scathing parody of the world of contemporary music, including twelve-tone and atonal music. Koechlin made the following analogy with regard to the apes in "Les Bandar-log":

"They think of themselves as creative geniuses, but are really nothing more than vulgar copyists whose only interest is to adopt to the fashion of the day. It is said that there is also something of the kind in the world of the artist."

A little snarky, then.  Well, well, it isn't as if I expected Koechlin to be saintly . . . .

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A little snarky, then.  Well, well, it isn't as if I expected Koechlin to be saintly . . . .

Yes, he's snarky, which is why I like him.

[karlhenning]

Meh, too easy.  The fact that one is snarky is no virtue of itself.  And the fact that he was snarky about musical fashion — i.e., elements of musical style and practice which have become classic — reflects poorly on him.

[springrite]

Meh, too easy.  The fact that one is snarky is no virtue of itself. 

True, but the beard should come close. 

For me, Koechlin is of much interest but not by virtue.

[Mirror Image]

Meh, too easy.  The fact that one is snarky is no virtue of itself.  And the fact that he was snarky about musical fashion — i.e., elements of musical style and practice which have become classic — reflects poorly on him.

I don't think at this juncture it really matters what reflects poorly on him or not. He wasn't exactly tearing up the scene during his time, Karl, but he was admired by his peers and though his music didn't get performed much (and still doesn't), this didn't break his spirit. He continued to compose music in the face of total neglect. I admire him for this. A person with a strong viewpoint goes a lot further than someone who jumps on the bandwagon because it's the "hip" thing to do.

I figured you and Koechlin would have at least have these things in common.

[Mr Bloom]

What are your favorite Koechlin orchestral works?

Les heures persanes (althought I prefer the piano version), La course de printemps, Le buisson ardent and Les Bandar-log, I think. I like Les eaux vives and the orchestrated Etudes antiques a lot too.
But my favorite piece by Koechlin is not orchestral, it's the fifteen motets in an archaïc style, a beautiful piece for a cappella choir and also his last work.

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But my favorite piece by Koechlin is not orchestral, it's the fifteen motets in an archaïc style, a beautiful piece for a cappella choir and also his last work.

I see that we have a hard time reading.

[Mr Bloom]

Okay. Is there a moment where you actually stop being an asshole, or is it just what you are?

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Okay. Is there a moment where you actually stop being an asshole, or is it just what you are?

I'm still not over your unwillingness to take a joke the first time around.

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Mr. Bloom, I'm a joking person. I like to have fun on this forum, but I can understand how it's easy for an outsider to take my jokes as being mean-spirited because on the screen they appear this way. But, in all honesty, I'm not an asshole, in fact, I'm far from it. Sometimes I can be harsh in my opinion, but it's all in good fun here. I'm sorry if you took my jokes as a personal attack on you. This was not my intention at all.

Moving along, it's good to meet another Koechlin fan on here.

[DavidW]

but I can understand how it's easy for an outsider to take my jokes as being mean-spirited because on the screen they appear this way.

It's easy for an insider to take your "joking" as mean spirited as well.  That's not actually joking fyi.  A joke is when you tell a humorous story with a punchline.  A joke is not when you act sarcastic or abrasive towards someone.  I'm speaking out because it seems that you inevitably attack new posters, and in doing so give this forum a bad name. 

If you really want to be a gentleman MI you will simply apologize.

Welcome to the forum Mr Bloom, ignore MI.  I hope that you stay, and I welcome you to gmg.

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It's easy for an insider to take your "joking" as mean spirited as well.  That's not actually joking fyi.  A joke is when you tell a humorous story with a punchline.  A joke is not when you act sarcastic or abrasive towards someone.  I'm speaking out because it seems that you inevitably attack new posters, and in doing so give this forum a bad name. 

If you really want to be a gentleman MI you will simply apologize.

Welcome to the forum Mr Bloom, ignore MI.  I hope that you stay, and I welcome you to gmg.

I already apologized, Dave. There are all different types of humor. Mine is sarcastic, but I explained my case to the new poster, which I didn't have to do. I only hope he accepts my apology and if he doesn't, then oh well.