Koechlin, Charles 1867 - 1950
Author: Kawakami, Keitaro
Last updated：February 17, 2020
Author: Kawakami, Keitaro
Author : Yasukawa, Tomoko
Last Updated: September 1, 2006
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Author : Yasukawa, Tomoko
Born in Paris to an Alsatian family. After studying at the École Polytechnique, he entered the Paris Conservatoire in 1890, initially as an auditor, then studied composition with Massenet and Fauré, and fugue and counterpoint with Gedalge. Excelling in orchestration techniques, he was responsible for the orchestration of numerous works, including orchestral pieces by Fauré and Debussy (Fauré's Pelléas et Mélisande, Debussy's Khamma). Fond of debate due to his sharp critical spirit and intelligence, in 1910, along with Ravel and Florent Schmitt, he left the conservative Société Nationale de Musique (a French association of composers and performers established in 1871) and founded the SMI (Société Musicale Indépendante). In his later years, he also leaned towards the Communist Party and composed many pieces for the people. Perhaps influenced by these factors, although he left 226 works with opus numbers, many of them remain unpublished to this day.
His works, characterized by a style that extensively uses modes, range widely from simple pieces resembling folk songs with added harmonies to those with avant-garde sonorities.
He was active in creating new timbres and experimented with various instrument combinations, primarily focusing on wind instruments. Koechlin was also one of the first to incorporate the Ondes Martenot into orchestral works (1929, Hymn to the Sun, Op. 110). His piano works are also rich in timbre, with many excellent pieces that reveal high compositional skill while remaining approachable. Koechlin was not only an excellent composer but also a great theorist who left important works such as Traité de l'orchestration (1954-59) and Traité de l'harmonie (1927-1930), as well as an educator and critic.
Works(19)
Piano Solo (6)
sonatina (2)
pieces (5)
Various works (6)
Piano Ensemble (2)
suite (2)