Composer of 'L'




Arthur Vincent Lourié (1892-1966)

One of the Rossian composers in avant-garde generation. Judish origin. Real name is Artur Sergeyevich Lur'ye. He was born in St.Petersburg on 14th of May, 1892. At first, he entered at St.Petersburg Conservatory and studied Glazunov, but he abandoned the school soon because of his hate for academism. Started under the influence of Scriabin, he reached a sort of 12 tone technique by 1914. He In 1914 he took to the futurist poets circle and participated with Benedikt Livshits and Georgy Yakulov in the publication Mi i zapad (We and the west). Later on he studied music by himself. After the BoIshevik revolution in 1917, his attitude of counter-academism was evaluated and he was appointed as a teacher position in an communist school although he could not flatter himself to the conservertive academists. In 1921, during his official travel to Berlin, he met F. Busoni and decided to stay there as a political asylum. Later on, he moved to Paris in 1924 until 1939 where he had a intimate relationship with Stravinsky, then moved to the United States in 1941 when Nazi occupied there. and since when, he have spent his afterlife there. Although he already composed in atonal neo-Vienna manner around the era of Schoënberg's emergence, his existence is totally ignored in musical history until now. His compositional diction can be characterized as latter romanticism initially, then he devoted himself to the 12 tone or atonal music before his moving to Germany. After moving there, his diction is also effected by neo-classicism with adoptation of medieval church music. He died in Princeton, New Jersey on 12th October in 1966. (2003© K.S.)


Main Works

Stage Works A Masque of Niege la masque de niege (1922) <ballet: choir, orch>
A Festival of Pest das festmahl während der pest (1933) <ballet>
Peter, the Great Moor Man der mohr peter des großen (1961) <opera>
A Crippled Davil le diable boiteux (-) <ballet>
Orchestral Symphony No.1 synfonie No.1 (1930)
Kormtchaia Symphony kormtchaia -symphony (1939)
Symphony No.2 synfonie No.2 (1941)
Apeiron apeiron (-)
Concerto A Little Chamber Music a little chamber music (1924) <vln, orch>
Chamber Concerto concerto da camera (1945) <vln, orch>
Chamber Microtonal String Quartet streichquartett in mikrotönen (1910) <2vln, vla, vc>
String Quartet No.1 streichquartett No.1 (1915) <2vln, vla, vc>
Pastorale of Volga Region pastorale de la Volga (1916) <ob, bssn, 2vla, vc>
String Quartet No.2 streichquartett No.2 (1923) <2vln ,vla, vc>
Sonata for Violin and Contrabass sonate (1924) <vln, vc>
Suite for String Quartet (String Quartet No.3) suite für streichquartett (1926) <2vln, vla, vc>
A Sound of Flute Traversing Violin la flûte à traverse le violon (1935) <fl, vln>
Hymn for The Gods of Wine dithyrambe (1942) <fl>
Divertimento divertimento (1943) <vln, vla>
Pantomime pantomime (1956) <cl>
Pan Flute die flöte des pan (1957) <fl>
Funeral Games in Honor of Chronos funeral games in honor of Chronos (1964) <fl, p, cymbal>
Sunrise sonnenaufgang (-) <fl>
Epilogue epilog (-) <2vln, vla, vc, b>
Phrases phrasen (-) <fl, p>
Piano Five Fragile Preludes fünf zerbrechliche präludien (1908-1910)
Two Woodcuts zwei estampes (1910)
Childish Intermezzo intermède enfantine (1910-1914?)
Three Studies drei etuden (1910-1914?)
Two Poems zwei poeme (1912)
Four Poems vier poeme (1912)
Two Mazurkas zwei mazurkas (1914)
Sonatine sonatine (1912-1913?)
Seven Masques masken (1913)
Bitter Sigh spleen empoisonnée (1913)
Menuet in the Name of Gluck menuett nach Gluck (1914)
Five Synthesises synthesen (1914)
Madness wahnsinn (1914-1915?)
Forms of Air : dedicated to Picassoformes en l'air (1915)
Routine tagesplan (1915)
(unclear) upmann (1917)
Sonatine No.1-No.3 sonatine No.1-No.3 (1917)
Piano - for the Poors piano-gosse (1917)
Detskoy V: the King royal'V detskoy (1917)
Four Pieces vier stücke (1924-1927)
Nocturne in B nocturne in B (1928)
Intermezzo intermezzo (1928)
Two Compositions zwei kompositionen (1938)
Small Suite in F kleine suite in F (1957)
Songs Formal Sonata No.1 sonata liturgique teil 1 (1928) <vo, chamber-orch>
The Birth of a Beauty la naissance de la beauté (1937) <sop, orch/f-choir>


Lourié Disc Review


"5 Preludes / Syntheses / Piano Gosse / Nocturne en si bemol / 4 Pieces / A Phoenix Park Nocturne / Emploi du Temps" (Accord : 201072)
Marie-Catherine Girod (piano)
Although the composers from the same country who went up Paris (such as Stravinsky or Scriabin) become famous in nowadays, this composer Lourie is tragedically left unknown. Probably one of the reasons why his name is still new for the most music fans is his musical diction. He drastically changed it for several times in relation to his life history. The first 5 preludes (opus 1) were written in the manner of former Scriabin, Le Flem or Schuman like modest romantic idiom. However, any listener must not believe his (her) ears when they start to hear the track No.6. The diction is totally changed into mad one. Piano writhes madly with desolate or atonal phrases. The latter compositions after his emigration to Westerm world reflect the westerners' sophisticated coloration in some sense so that those sound like hard-to-please Milhaud or Messiaen. The chronological arrangement of the tracks in this CD clearly reflect his varied life. If you can be open to the variance, you will find a strange fruit of French modernism in here. The soloist, Ms. Girod is a great pianist who is passionate for digging hidden treasures of French (or French-rooted) modern music. Needless to say the performance is steady.

"String Quartets No.1-3 / Duo for Violin and Viola" (ASV : CD DCA 1020)
Utrecht String Quartet : Eeva Koskinen, Katherine Routley (vln) Daniel Raiskin (vla) Sebastian Koloski (vc)
Lorie is a Russian composer born in 1892. Like Stravinsky or Scriabin who escaped from Russia at their early lifestage, he was too progressive to be accepted in his home country. Therefore he has emigrated finally to the United States for freedom, via Germany and France. As his works, Girod's piano works was the only available one prividing a good examples of his varied diction. This recording provides another precious oppotunity to approach his chamber music. The three quartets were all written in the first half of the 1920's, the period of the composer's emigration to German and to France. Therefore, the most aggressive one is the first string quartet of course. Hysteric discords with head-tearing tremolos harshly shave the outlines of each movement. Neo-classical rooted form barely keep the outlines from destruction, and the keen harmonies which sometimes enhanced the color aggitate masochistic pleasures. The name of the performers is new for me. Also the linernotes provides nothing of their records of being awarded in any world-class prizes which made me anxious of their ability in performance, but their performance is far better than I expected.



(2003. 12.12)