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Opera and lyrical music
Sheet music for Jean Barraque
Solo soprano voice, Mixed choir, orchestra (Soprano Voice Solo, SATB Choir, 2 Fl, Fl-Picc, Ob, EnglHn, 2 clarinet, clarinet-B, bassoon, harp, guitar, harpisc., Cel, Vib, Xyl, Glsp, 4percussion, Str(4V, 2 Va, 2 Vc, double bass))
Composed by Jean Barraque (1928-1973). Paperback. Score. Composed 1956/1957 / 1967/1968. 159 pages. Duration 40 minutes. Baerenreiter Verlag #BA07360. Published by Baerenreiter Verlag (BA.BA07360).
Composed by Jean Barraque (1928-1973). Stapled. Performance score. Composed 1950-1952. 53 pages. Baerenreiter Verlag #BA07284. Published by Baerenreiter Verlag (BA.BA07284).
Solo voice (french) and orchestra in 4 groups (2 Soprano Voice Solo, Alto Voice Solo, Gruppe 1: 2 Trp, trombone, Sax-A, Sax-T, Sax-Bar, Vib, Gruppe 2 : Cel, Glsp, Xyl, harp, Vib, piano, Gruppe 3: 3percussion, Gruppe 4: 3clarinet, clarinet4, clarinet-B)
Composed by Jean Barraque (1928-1973). Paperback. Study Score. Composed 1959. 69 pages. Duration 45 minutes. Baerenreiter Verlag #BA07361. Published by Baerenreiter Verlag (BA.BA07361).
6 percussionists, solo soprano voice and piano (Soprano Voice Solo, 6percussion, piano)
Composed by Jean Barraque (1928-1973). Paperback. Study Score. Composed 1966. Duration 23 minutes. Baerenreiter Verlag #BA07362. Published by Baerenreiter Verlag (BA.BA07362).
Solo soprano voice, orchestra (Soprano Voice Solo, 3percussion, Vibr, Xyl, Cel, Glsp, piano, harp, V, Vc)
Composed by Jean Barraque (1928-1973). Paperback. Score. Composed 1950-1955. Duration 18 minutes. Baerenreiter Verlag #BA07359. Published by Baerenreiter Verlag (BA.BA07359).
Clarinet-solo, Vibr-solo, Ens (Group 1: Violin, Bassoon, Trumpet, Group 2: Viola, English Horn, Trombone, Group 3: Cello, Alto Flute, Tenor Saxophone, Group 4: Harp, Bass Clarinet, Baritone Saxophone, Group 5: Harpsichord, Oboe, Horn, Group 6: Guitar, Flute)
Composed by Jean Barraque (1928-1973). Paperback. Score. Composed 1968. Duration 30 minutes. Baerenreiter Verlag #BA07363. Published by Baerenreiter Verlag (BA.BA07363).
The most poetic of the post-war serialists, Barraqué evolved a personal serial
technique of proliferating note-rows which he used to engender music of extreme
complexity and passion. His entire acknowledged output encompasses seven works:
- Piano Sonata (1952)
- Sequence for soprano and ensemble (1950-54)
- Etude for tape (1954)
- Le temps restitue for soprano, chorus and orchestra (1956-57, rev. 1968)
- ... au dela de la hasard for voices and four instrumental groups (1959)
- Chant apres chant for soprano, piano and percussion (1966)
- Concerto for clarinet, vibraphone and six trios (1968)
The last four of these (even the Concerto) are part of, or commentaries upon,
or commentaries upon those commentaries, of one part of the projected
gesamtkunstwerk ‘La Morte de Virgile’. There are or were some small fragments
of other projected members of the cycle: Discours for voices and orchestra
(1961); Lysanias (1966-73); Portiques du Feu (partly destroyed in fire, 1968;
fragment 1972); L’Homme couche (stage work, 1969), Hymnes a Plotia (string
quartet, 1969); Arrache de ... commentaire en forme de lecture du Temps Restitue (voices and instruments, 1970).
Preceding his acknowledged works Barraqué wrote about 30 others, which perhaps
still exist. They included Nocturne in C sharp minor for piano (1943), Symphony
(ca. 1945), Mouvement Lent, piano (1947), Sonata for solo violin (ca. 1948),
Symphony in C sharp minor (ca. 1949) three piano sonatas, and finally three
Songs for voice and piano (1950, words by Baudelaire, Rimbaud and from the Song
of Songs) - these songs, now with texts by Nietzsche, became the basis of the
Student of Jean Langlais at the Paris Conservatoire, he was in Messiaen’s
analysis class 1948-51 (where he met Andre Hodeir, Boulez and Goeyvaerts), then
worked in the Group de Recherche de Musique Concrete and for the Club d’Essai
of French Radio. Afterwards taught privately. He wrote some music criticism,
contributed important articles to Larousse de la Musique, and wrote especially
an interesting book on Debussy. Yvonne Loriod premiered Barraqué‘s Piano Sonata
and Boulez conducted some of his larger works
at the Concerts du Domaine Musicale. In 1955 Michel Foucault introduced him to
Hermann Broch’s novel The Death of Virgil, which he decided to take as the
basis for a vast musical cycle which would occupy his entire creative life.
Only a small portion of it was realized. In 1961 Hodeir’s book ‘Since Debussy’
proclaimed Barraqué, at least by implication, as one of the greatest composers
since Beethoven, mainly on the basis of the Piano Sonata, attracting
international attention although his number of works (and the number of their performances)
remained tiny. Stylistically and socially he remained a loner. After a car
accident in 1964 he was dogged by ill-health and underwent several operations
as well as a fire at his home which destroyed some of his manuscripts. In 1971
applied to be professor of analysis at the Paris Conservatoire but was turned
down. In 1972, forced by the courts to pay 3000 francs damages to the estate
of Erik Satie for a passage about Satie and Debussy in his Debussy book.
Chevalier of the Ordre National du Merite, June 1973; six
weeks later Barraqué died aged 45.