JAVS Spring 2019

Feature Article

Loss and Renewal: The Evolution of Charles Loeffler’s Deux Rapsodies Courtney Miller

Deux Rapsodies for oboe, viola and piano by Charles Martin Loeffler has become a staple of the chamber repertoire for both viola and oboe, admired for its strikingly evocative themes and programmatic effects. Taking its inspiration from French symbolist poetry, Deux Rapsodies has been capturing the imaginations of audiences for over a century. However, the personal tragedy interwoven in the creation of this composition is perhaps lesser known. Deux Rapsodies is actually a reworking of one of Loeffler’s earlier compositions, Rapsodies, a three-movement work for clarinet, viola, voice, and piano and set to text from the poetry of Maurice Rollinat. This article will explore how Loeffler incorporates the programmatic elements illuminated by the text setting of his vocal Rapsodies into his instrumental Deux Rapsodies . This article will also delve into the tragic circumstances and emotional vulnerability surrounding these compositions. Charles Martin Loeffler is of German heritage and was born in 1861, most likely in Berlin. However, much of his early childhood was spent in Alsace, a province of France. His father was a successful academic in the field of agriculture with a specialty in horse breeding. His mother had a strong affinity for poetry and reading, which perhaps proved to have a direct influence for his compositions. In addition to being a distinguished researcher, his father also held political views that were not favorable with the German chancellor. As a result, Loeffler moved frequently while growing up and lived many places including France, Kiev, Hungary and at times in Germany. These experiences influenced his taste in music and his cultural identity. For example, when he lived in Hungary, he would spend evenings listening to the fiddling of the gypsy caravans. A frequent place to Loeffler’s Early Life

hear them was a row of inns near the Royal Agricultural Academy where his father taught. He also had fond and strong memories of spending time in Russia and Russian inspired themes would frequent his compositions throughout his compositional career. It was also in Russia where Loeffler began the study of music on the violin at age 8, with a German violinist in the St. Petersburg Orchestra. 1 In 1874, Loeffler decided to pursue music as a profession and moved to Berlin to study at the Hochschule für Musik. During his time in Berlin he studied with Eduard Rappoldi and then the great Joseph Joachim. Around 1877 he departed for further study in France. As a violinist in France, he studied with Lambert-Joseph Massart and joined the private orchestra of Paul de Derwies in 1879 as 2 nd chair, first violin. 2 Loeffler found his artistic home and soul in France. It was during his time in Paris that Decadence, which would become Symbolism, was taking root in literature and poetry featuring poets such as Mallermé, Rimbaud, Verlaine. He also came face to face with and fell in love with Impressionism. Loeffler became a “Francophile in his musical, artistic, and literary tastes.” 3 This time period of his study perhaps most directly influenced his Rapsodies as well as his Four Poems, opus 5, for voice, viola and piano. Both of these chamber works are scored for voice, viola and piano with direct inspiration and text from symbolist poetry. 4 In 1881 Paul de Derwies, the conductor of Loeffler’s orchestra, died unexpectedly. This event was the impetus necessary to nudge Loeffler to seek opportunity in America. He saved his money and traveled first-class on Professional Education and Early Career

Journal of the American Viola Society / Vol. 35, No. 1, Spring 2019

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