season 2011-2012 - Palazzetto Bru Zane

Transcription

SEASON
2011-2012
SEASON
2011-2012
!
Encouraging pioneer projects and excellence at the service of fine causes
There are fine causes, with projects that are innovative, well thought-out and truly inspired, but which
for their success require the strong support and encouragement of a committed partner. The Fondation
Bru supports and accompanies such projects – sometimes quite simply making them possible.
Created in 2005 on the initiative of Dr Nicole Bru, with the aim of perpetuating the name and memory
of the founders of French pharmaceuticals company Laboratoires UPSA, the Fondation Bru reflects
the values of that family of enterprising researchers: strong commitment, profound humanism, a
pioneering spirit, a wish to be useful…
Man and his environment lie at the heart of all the actions undertaken by the Fondation Bru, which
maintains great freedom in the choice of its commitments to patronage and work in the fields of
education and research, culture and the cultural heritage.
The Fondation Bru is receptive to fine initiatives that are in phase with its own values: ambitious
pioneering projects that ate likely to further the causes they serve in a significant manner.
www.fondation-bru.org
The Palazzetto Bru Zane’s third year of activity sees
the ripening of the fruits of the past two seasons. I am
particularly delighted because, although reflection,
dialogue and conceptualisation are essential in artistic
production, as in scientific research, it is none the less
necessary to materialise those efforts and give the work
carried out a concrete and definitive form: books, sheet
music and recordings are now tangible evidence of the
research conducted by the Palazzetto and its partners.
Fond memories prompt me to mention, for example, the
forthcoming release on CD of three piano concertos by
Hérold; these were recorded in Warsaw in 2010, following
the publication of the scores by the Palazzetto’s editorial
partner, Symétrie, then the programme presented at the
Scuola Grande di San Rocco in Venice. This is just one
example of the sequence of events and skills that can
enable artists and music lovers alike to have access to
works that previously could be neither heard nor played,
and whose very existence was, to be honest, unknown
to most people.
Among the fundamental objectives laid down when
the Palazzetto was founded, scientific research lies at
the heart of the process of rehabilitating the Romantic
repertoire. “Separating the wheat from the chaff”, in
order to present the best of this music, means making
a thorough study of manuscripts that are sometimes
barely legible and whose qualities are not necessarily
immediately obvious. This selection stage is crucial in
justifying the work that comes next.
The question of making this repertoire available to as
many people as possible was also a central concern.
With its special charm, Venice, the anchoring point
of the project is one concert centre amongst others.
The forthcoming season wholly satisfies these hopes
for development, not only by further increasing the
number of partner venues, but also by strengthening
collaborations that can now be described as faithful. I
sincerely thank all those who thus extend and promote
our activity.
Finally, I must draw attention to the increase in 2011-2012
in the number of teaching and career assistance projects,
and partnerships with international competitions (Lyon,
Paris, Orléans, Bordeaux and others). The younger
generation is the one that will later choose to champion a
repertoire that is too often neglected through ignorance.
It is likely that if artists’ first contact with this music
is through dialogue, the sharing of knowledge and
emulation, they will remember it with enthusiasm for
a long time to come. And the team of the Palazzetto will
see to that.
Dr Nicole Bru, president
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ADVISORY COUNCIL
AND TEAM
Nicole Bru president
ADVISORY COUNCIL
Vincent Berthier de Lioncourt
Alain Durel
Michael Fend King’s College, London
Emilio Sala Università degli Studi, Milan
Michèle Roche Fondation Bru
Didier Voydeville Fondation Bru and Palazzetto Bru Zane
TEAM ADVISERS
Scientific and artistic department
Alexandre Dratwicki scientific director Étienne Jardin scientific coordinator (books and symposia) Rosa Giglio artistic coordinator Camille Merlin programmes
and discographic partnerships Cyril Bongers scientific coordinator
(musical publications)
Benoît Dratwicki artistic adviser
Baptiste Charroing, Michael Eriskat
distribution
Communication and ticket department
Katia Amoroso communication and promotion
Alessandra Amoroso ticket sales
Production department
Elena Vignotto production
Rocco Grandese production and stage management
Administration
Lino Gagliotta administrative coordination
PRESS CONTACTS
France: Opus 64, Tel. +33 (0)1 40 26 77 94 Valérie Samuel | v.samuel@opus64.com Italy: Vivace, Tel. +39 349 5856526
Marta Romano | mromano.vivace@gmail.com
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SEASON 2011-2012
Just as 2010 gave the Palazzetto Bru Zane an opportunity to commemorate the birth of the most French
of Italian composers, Luigi Cherubini, 2011 imposes a
celebration of that outstanding pianist and truly international artist, who travelled constantly all over
Europe, Franz Liszt. The Palazzetto’s Autumn Festival
this season is devoted to the eminently Romantic theme
of virtuosity, focusing in particular on the emergence
of the aesthetic of heroism and the rise of the modern
“star system”. Beside the figureheads, Paganini, Liszt
and Chopin, the programmes highlight the important
role played by neglected artists, such as Alkan and
Thalberg. From the sonata to the concerto, from the instrumental repertoire to opera, the epic of the Romantic
“challenge” takes shape through the artists brought together for this occasion. For the first time, this season,
the second thematic festival is devoted to the works of a
composer whose name is now completely unknown to
most of us: Théodore Dubois (1837-1924). The catalogue
of his works is so impressive that it is hard to imagine
that he was completely forgotten after his death, except
as the author of a famous treatise on harmony (Traité
d’harmonie). Were all his works worthwhile? Was modernity over-radical and unjust in its dismissal of this
composer? The Spring Festival in 2012 aims to answer
those questions, while at the same time approaching
and developing the theme of “official art”, which now
tends to be decried. (While being a corollary of our
study of Dubois, this also enables us refer to Massenet
on the centenary of his death.) As well as enabling us to
gain a better understanding of Dubois, the man, and his
artistic context, the festival pays a moving tribute to a
composer who died as he was writing (Private Diary,
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18 December 1922): “There must be enough good works
among all those I leave to do me some justice!”
In February 2012, between those two thematic festivals,
comes Le salon romantique, which as usual proposes a
series of cartes blanches, with works by Hérold, Gouvy,
Onslow, Boëly and many other little-known or unknown
composers.
The 2011-2012 season sees further results in the musicological initiatives we have undertaken in collaboration with our academic or private partners. Further
research topics, the expansion of the catalogue of rare
scores, and more diversity in our publications (notably
with the launching of a series of paperbacks, intended
for a non-specialist readership, that has already attracted much attention): all this enables us to extend
our knowledge of this repertoire.
Finally, continuing its policy of supporting CD recordings, the Palazzetto initiates a new series this season,
concentrating particularly on Romantic opera of the early nineteenth century. The first releases in the series will
be Amadis de Gaule by Johann Christian Bach, Cherubini’s Lodoïska, Sémiramis by Catel, and Kreutzer’s La
Mort d’Abel.
In concert or on CD, you will find, throughout this season, some of the orchestras and artists who have given
their loyal support to a committed artistic policy aiming to show the Palazzetto Bru Zane’s raison d’être in
reviving for all, with the highest possible standards, an
art that is now well on the way to recovering its former
popularity.
The team of the Palazzetto Bru Zane
The 2011-2012 season provides an opportunity to commemorate four great names of
French Romanticism: Liszt, Gautier, Massenet and Debussy. They are honoured throughout the Palazzetto Bru Zane’s festivals: Liszt and Gautier appear frequently in the Autumn Festival, devoted to virtuosity, while Massenet and Debussy feature prominently in
the Spring Festival devoted to “Théodore Dubois and official art”.
Théophile Gautier (1811-1872)
2011 marks the bicentenary of the birth of the French poet, dramatist, novelist, journalist,
and literary, ballet and art critic, Théophile Gautier. The author of Capitaine Fracasse was
a great lover of music, whose critical views, published in distinguished newspapers of
the time, provide us with precious insight into Italian opera, French grand opera, and the
symphonic music of the Second Empire.
Franz Liszt (1811-1886)
A brilliant pianist and composer, Franz Liszt is no doubt the father figure of nineteenthcentury European music: he provides the important link between Beethoven and Wagner.
His bicentenary gives us an opportunity to find out more about his life as a virtuoso in
Paris – when he apparently sold his soul to the devil – and his life as a composer in Weimar
– when he signed a pact with God.
Jules Massenet (1842-1912)
Commemorations of the centenary of the death of Massenet – Gounod’s successor on the
operatic stage in Paris – enable us to take a look at this composer of successful works
including Manon and Le Jongleur de Notre-Dame, in order to gain a better understanding of the man and his art. His eclecticism (now gradually being recognised) reveals a
pioneer and an innovator, at the beginning of the twentieth century, in matters of form
and sound.
Claude Debussy (1862-1918)
Embodying the radical modernity of post-Romantic French music, Debussy was regarded
by the avant-gardists of the twentieth century as a leader. The celebration of the 150th
anniversary of the birth of the author of Prélude à l’après-midi d’un faune and Pelléas et
Mélisande gives us an excuse to listen once more to works from a musical catalogue that
is more varied than is generally believed.
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The Palazzetto Bru Zane
For a hundred years, the Casino Zane, built between 1695
and 1697 in the San Stin district not far from the Basilica
dei Frari, housed the entertainments of the Zane family,
who lived in the nearby Palazzo Zane.
The main palace (now a training school, the Scuola Livio
Sanudo) was separated from the Palazzetto by a splendid
formal garden. A building next to the Palazzetto housed
the library; it no longer exists.
In 1682 the workshop of Baldassare Longhena – the most
distinguished Venetian architect of the Baroque period,
who designed Ca’ Pesaro and Ca’ Rezzonico – completed
the restoration of the Palazzo Zane commissioned by
Dominico Zane (d. 1672). On his death the latter had bequeathed his property and an important collection of
books and paintings to his nephew Marino. Marino Zane
then commissioned the building of a casino (now the Palazzetto) and a library to house the collection left to him,
which he had subsequently enlarged. The architect Antonio Gaspari, who had worked in Longhena’s workshop,
was given carte blanche to design the casino. On his
death, his assistant Domenico Rossi carried on the work
with the help of artists of repute. The very rich interior
decoration is attributed to the famous stucco decorator
Abbondio Stazio; the woodwork, including the ornate
wooden balustrade above the main salon, is by Andrea
Brustolon. The frescoes in the house have recently been
attributed to Sebastiano Ricci. The palace is listed on the
National Register of Historic Monuments. After consulta-
tions in 2006, restoration work was begun in 2007, the
aims of the Fondation Bru being to restore the building
in its original spirit and to create a venue for music. The
building, with an overall area of eight hundred square
metres, is on three levels. Its windows look out over a
canal on one side and over the garden on the other. The
ground plan is traditional Venetian.
The sixteen rooms include a concert hall with a seating
capacity of up to a hundred. Now the restoration work is
finished, the Palazzetto has a sound-proofed rehearsal
studio; there is also a lift for persons with reduced mobility.
The glory of the house is the double-height salon (music
room of the Zane family) with a magnificent coved ceiling bearing a huge painting of Hercules with Fame and
Virtue in the centre, and Olympian gods in grisaille in
the four corners. Painted shells, such as those seen on the
ceiling, are a rarity in Venice. The room is reached via a
grand staircase decorated with splendid frescoes.
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SUMMARY
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CONCERTS AND OTHER MUSICAL EVENTS
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Festival Virtuosity
Festival Le salon romantique
Festival Théodore Dubois (1837-1924) and official art
Operas and ballets
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SCIENTIFIC ACTIVITIES
Symposia
Valorisation of documentary collections
Research themes
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PUBLICATIONS
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Books
Scores
Recordings
121
TEACHING PROJECTS, COMPETITIONS
AND CAREER ASSISTANCE
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PARTNERSHIPS
143
PRACTICAL INFORMATION
144
154
156
157
General calendar
Calendar of concerts in Venice
Ticket prices and booking
How to get here
CONCERTS
AND OTHER
MUSICAL EVENTS
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VIRTUOSITY
FESTIVAL | 8 OCTOBER -19 NOVEMBER 2011
Virtuosity, a touchstone of the nineteenth century, encompasses the charms and the excesses of Romantic music, in
which it was recognised as having true emotional value.
If bravura and “pyrotechnics” resulting from vocal or
digital agility were the most immediate manifestations
of virtuosity, it was also expressed, in opera especially,
through sheer vocal power. The ‘chant de force’ that was
required for the operas of Gluck (and soon after, those of
Meyerbeer) necessitated such capacities that some singers
who were expected to go a long way ruined both their
voices and their careers in the space of a few years. The
famous singer Cornélie Falcon’s sudden loss of voice is the
operatic equivalent of Schumann tearing his ligaments.
The attention focused on virtuosity led to appropriate developments in teaching and organology. Books of technical
studies (études) and collections presenting various vocalisations dealt with purely mechanical aspects, while what
can only be described as torture instruments gradually
appeared to strengthen, stretch and loosen the muscles
of the arm and hand. At the same time, pitch gradually
rose (it was not to be fixed until 1850 onwards) in order to
give instruments a clear, bright sound and increase their
sound projection. Wind instruments, in particular, freed
themselves from a hitherto rudimentary technique. Thus,
from the First Empire onwards (the empire of Napoleon I,
1804 - 1814/1815), some singers, such as the famous Mme
Branchu, gave up appearing in the tragédies lyriques of
Gluck, since they had become inaccessible to their voices.
But a new school of singing took up the challenge of Romanticism, setting high C in the ‘chest voice’ as the ideal
to be aimed for in a vocal career. At the same time, the
evolution of musical genres deferentially served the aspirations of virtuosity. The études of Czerny and Chopin,
Liszt and Thalberg became the crucible for pedagogical experimentation, while the concerto with orchestra
represented the inevitable apotheosis of concert programmes, and the paraphrase became the prerogative of
the middle-class salon. The operatic milieu itself yielded
to this passion on the part of the public: the Romantic
“grand opera”, invented by Auber, introduced vocalising
for characters that had previously either been relegated
to the divertissements, or quite simply had not existed.
The forte chanteuse replied to the chanteuse à roulades,
much to the satisfaction of a public that relished the delights of immediate emotion. Often denigrated, virtuosity nevertheless continued to offer an enchanting spectacle throughout the century, and composers such as Liszt,
Paganini, Brahms and Rachmaninov did not hesitate to
employ their genius in paying tribute to this “demonic”
facet of pluralist Romanticism.
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FESTIVAL «VIRTUOSITY» | 8 OCTOBER -19 NOVEMBER 2011
Romantic experiments
Tuesday 13 September 2011 at 9 p.m.
Duomo, Forlì (Italy)
FILARMONICA ARTURO TOSCANINI DI PARMA
CORO LIRICO TERRE VERDIANE
CORO FILARMONICO DI PESARO
Jan Latham-Koenig, conductor
Roberto Prosseda, pedal piano
The epic of the Romantic concerto
The French Romantic concerto experienced its golden
age during the second half of the nineteenth century,
flourishing particularly in the works of composers such
as Saint-Saëns, Franck, Lalo and Godard. But this genre
– which had to make the most of the expressive qualities of opposed and unequal forces of instruments (solo
versus tutti) – had first appeared in the 1780s. Favouring the strings and woodwinds first of all, it gradually
turned to new soloists, as instrument makers made technical advances. Moreover, the concerto was inseparable
from the birth in France of a new symphonic school, inspired by the discovery of the works of Mozart, Haydn
and Beethoven.
All the composers of that musically rich century had to
deal with those seemingly contradictory elements, with
each of them seeking an original solution to the delicate
problems posed by the use of a predominant instrument within an orchestral fabric that nevertheless had
to be coherent. From that typically French attraction to
timbre gradually emerged a repertoire of remarkable
variety, both in technique and form, including the essentially traditional grand concerto (Saint-Saëns), freely
concerted pieces developed in different ways by different
composers (Franck, Chausson, Fauré, Debussy) and the
symphonie avec soliste or concerted symphony (exemplified by Berlioz, Lalo and d’Indy).
Charles GOUNOD: Concerto for pedal piano and orchestra in E flat major
Cristian CARRARA: Magnificat for pedal piano and orchestra
Giuseppe VERDI: sinfonias and choruses
Paris 1840
LE CERCLE DE L’HARMONIE
Jérémie Rhorer, conductor
Julien Chauvin, solo violin
Bertrand Chamayou, piano
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Franz LISZT: Piano Concerto no. 1 in E flat major
Hector BERLIOZ: Rêverie et Caprice, romance for violin and orchestra
George ONSLOW: Le Colporteur (overture)
Henri REBER: Symphony no. 4 in G major
Romantic trilogy
ANIMA ETERNA BRUGGE
Jos Von Immerseel, conductor
Pascal Amoyel, piano
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Lisz
Friday 19 August 2011 at 9 p.m.
Château Louis XI,
La-Côte-Saint-André (France)
Sunday 4 September 2011 at 8 p.m.
Die Glocke, Bremen (Germany)
Sunday 16 October 2011
Arsenal, Metz (France)
Wednesday 24 August 2011 at 9 p.m.
Château Louis XI,
2011
Camille SAINT-SAËNS: Danse macabre
Franz LISZT: Piano Concerto no. 2 in A major
Hector BERLIOZ: Symphonie fantastique
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In the shadow of Wagner
ORCHESTRE NATIONAL D’ÎLE-DE-FRANCE
Yoel Levi, conductor
Maxim Rysanov, viola
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Lisz
Château Louis XI,
2011
Richard WAGNER: Faust overture
Franz LISZT: Mephisto valses nos. 1 and 2
Hector BERLIOZ: Harold en Italie
“Sacré ou profane?”
Étienne-Nicolas MÉHUL: Stratonice (overture)
Henri REBER: Symphony no. 3 in E flat major
Niccolò PAGANINI: Violin Concerto no. 1 in D major
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ORCHESTRE DE PICARDIE
Arie van Beek, conductor
Jean-Frédéric Neuburger, piano
Friday 14 October 2011 at 8 p.m.
France / Germany / Italy
JEUNE ORCHESTRE ATLANTIQUE
David Stern, conductor
Daria Fadeeva, piano
César FRANCK: Rédemption (symphonic interlude)
Alexandre GUILMANT: Symphony no. 2 in A major
Camille SAINT-SAËNS: Symphony no. 3 in C minor “with organ”
CONCERTO KÖLN
Christopher Moulds, conductor
Kuba Jakowicz, violin
Friday 4 November 2011
Théâtre Impérial, Compiègne (France)
Saturday 5 November 2011
Theatre, Abbeville (France)
François-Adrien BOIELDIEU: Ma Tante Aurore (overture)
Christoph Willibald GLUCK: Orphée et Eurydice (suite)
Louis-Ferdinand HÉROLD: Piano Concertos no. 3 in A major
and no. 4 in E minor
Georges BIZET: Symphony in C major
ORCHESTRE NATIONAL DE LORRAINE
Jacques Mercier, conductor
The Paganini experience
From one Empire to another
Christoph Willibald GLUCK: Orphée et Eurydice (suite)
Louis-Ferdinand HÉROLD: Piano Concerto no. 4 in E minor
Luigi CHERUBINI: Symphony in D major
Sunday 11 December 2011 at 5 p.m.
Théâtre L’Équinoxe, Châteauroux
(France)
Monday 12 December 2011 at 8.30 p.m.
Théâtre des Quatre-Saisons,
Gradignan (France)
Tuesday 13 December 2011 at 8.30 p.m.
Abbaye aux Dames, Saintes (France)
Sunday 23 October 2011 at 9 p.m.
Teatro Toniolo, Mestre (Italy)
Debussy and the “fantaisie”
LES SIÈCLES
François-Xavier Roth, conductor
Alain Planès, piano
ussy
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Thursday 2 February 2012 at 8 p.m.
Concert hall, Cité de la Musique,
Paris (France)
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Claude DEBUSSY: Prélude à l’après-midi d’un faune
Fantaisie for piano and orchestra
Suite no. 1
Philippe HUREL: Phonus
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A concert at Colonne
Thursday 9 February 2012
Théâtre des Arts, Rouen (France)
Romantic experiments
ORCHESTRE DE L’OPÉRA DE ROUEN Haute-Normandie
Antony Hermus, conductor
Jane Peters, violin
BERLINER SYMPHONIKER
Lior Shambadal, conductor
Roberto Prosseda, pedal piano
Camille SAINT-SAËNS: Violin Concerto no. 1 in A major
Symphony no. 2 in A major – Introduction et Rondo capriccioso
Gabriel FAURÉ: Pavane
Eugène YSAYE: Berceuse op. 20
Charles GOUNOD: Concerto for pedal piano in E flat major
Cristian CARRARA: Magnificat for pedal piano and orchestra
César FRANCK: Symphony in D minor
At the turn of the century
ORCHESTRE DE LA PHILHARMONIE SLOVAQUE
Alain Pâris, conductor
NN, violin
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Albéric MAGNARD: Hymne à la justice
Claude DEBUSSY: Trois Images
Camille SAINT-SAËNS: Violin Concerto no. 3 in B minor
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ussy
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Thursday 16 and Friday 17 February 2012
Old Opera House, Bratislava
(Slovakia)
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Miniature and outsized
MAV SYMPHONY ORCHESTRA
Alain Pâris, conductor
Gagely Boganyi, violin
Friday 27 April 2012
Teatro Comunale, Pordenone (Italy)
Sunday 6 May 2012
Philharmonie, Berlin (Germany)
Friday 30 March 2012
RaM Colosseum Centre, Budapest
(Hungary)
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Claude DEBUSSY / Henri BÜSSER: Petite Suite
Camille SAINT-SAËNS: Piano Concerto no. 2 in G Minor op. 22
Paul DUKAS: Symphony in C major
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Romantic studies
Geoffroy Couteau, piano
Pianos, pianists and pianism
In France, the adventure of the Romantic piano began
under the joint impetus of instrument making and the
beginnings of virtuosity. From the Empire period onwards, Pleyel and Érard competed with each other to
create fortepianos that were ever subtler and more sonorous. Simultaneously, the new “star system” isolated the
virtuoso from all the other performers. Who, more than
the pianist, could claim to embody the new Romantic
hero, sometimes keenly involved in committed actions,
sometimes withdrawn into melancholy isolation? The
piano repertoire felt the effects of that duality: at the
time when intimate pieces were flourishing, the concerto began to adopt increasingly impressive, and even
unlikely, turns in order to satisfy the expectations of a
public with an appetite for the “spectacular”. Between
those two genres, the one intended for the salon, the
other for the concert hall, the piano became ubiquitous,
used in chamber music, the mélodie, and even on stage
in operas, where it was used on many occasions. And as
if it were not enough for it to have its own vast repertoire the piano began to turn to transcriptions and arrangements. In countless fantaisies on famous themes,
the virtuoso added garlands of embellishments aimed
at dazzling the listener. Conversely, the Romantic piano
was not afraid to replace a whole orchestra. If the German school, from Beethoven to Brahms, is considered to
be the highest expression of the Romantic piano, that is
because most people are unaware of the pioneering work
of Frenchmen such as Hérold or Alkan.
2011
Camille Saint-Saëns: Études op. 52 nos. 2 and 6, op. 111 no. 6,
op. 135 nos. 4 and 5
Charles-Valentin ALKAN: Étude dans les tons mineurs
(Scherzo Diabolico) op. 39 no. 3, Étude dans les tons majeurs
(Allegro barbaro) op. 35 no. 5
Hélène de MONTGEROULT: Étude no. 110
Frédéric CHOPIN: Études op. 10 no. 12, op. 25 nos. 1, 7 and 12
Pierre-Alexandre BOËLY: Étude no. 15
Franz LISZT: Étude d’exécution transcendante no. 8, “Wilde Jagd ”
Romantic pilgrimage
Franz LISZT: Années de pèlerinage
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2011
Sunday 15 May 2011 at 5 p.m.
Château du Saillant de Voutezac
(France)
Monday 30 May 2011
Xiamen (China)
Friday 3 June 2011
Qingdao (China)
Saturday 4 June 2011
Beijing (China)
Lille (France)
Thursday 14 July 2011 at 8.45 p.m.
Château de Vollore (France)
Thursday 28 July 2011 at 9 p.m.
Église, Villers-sur-Authie (France)
Saturday 27 August 2011 at 7 p.m.
Les Serres d’Auteuil, Paris (France)
Saturday 17 September 2011 at 3 p.m.
Côte d’Albâtre (France)
Friday 18 November 2011 at 8.30 p.m.
Istituto francese, Florence (Italy)
Saturday 19 November 2011 at 8 p.m.
Palazzetto Bru Zane, Venice (Italy)
Saturday 18 June 2011 at 11 a.m.
Conservatoire, Lille (France)
Friday 22 July 2011 at 8 p.m.
Jardins suspendus, Le Havre (France)
Saturday 23 July 2011 at 6.45 p.m.
Château de Chambord (France)
Saturday 20 August 2011
Friday 2 September 2011
Saint-Pierre des Cuisines, Toulouse
(France)
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A dazzling piano
Natalia Morozova, piano
Frédéric CHOPIN: Variations on “Là ci darem la mano”
from Mozart’s Don Giovanni
Sigismund THALBERG: “Casta Diva”, transcription of the cavatina
from Bellini’s Norma
Nocturne op. 35 no. 2 “L’Arpeggio”
Nocturne in B major
Charles-Valentin ALKAN: Grande Sonate op. 33
Berlioz versus Liszt
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Lisz
Roger Muraro, piano
Hector BERLIOZ / Franz LISZT: Symphonie fantastique
Wednesday 3 August 2011
Le Dôme, Richelieu (France)
Château-Abbaye, Cassan (France)
Thursday 25 August 2011 at 5.30 p.m.
Salon de musique de Bardou,
Mons-la-Trivalle (France)
Mairie of the 4th arrondissement,
Paris (France)
Sunday 13 November 2011 at 5 p.m.
Église, La-Côte-Saint-André (France)
A pianist at the Opéra
Giovanni Bellucci, piano
Franz LISZT: operatic transcriptions and paraphrases
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2011
The art of transcription
David Violi, piano
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Lisz
2011
Maurice RAVEL: Gaspard de la nuit
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Franz LISZT: Mephisto-polka
2011
Waltz from Gounod’s Faust
Benjamin GODARD: Les Farfadets op. 67 no. 2
La Fée d’amour op. 67 no. 3
Johann KRÜGER: Fantaisie dramatique on Gounod’s Faust
Hector BERLIOZ / Ludwig SCHALL: Three scenes
from Berlioz’s La Damnation de Faust
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Wednesday 12 October 2011 at 8 p.m.
Philippe Graffin, violin
Pascal Devoyon, piano
Camille SAINT-SAËNS: Élégie op. 143
Triptyque op. 136
Marie-Joseph Canteloube DE MALARET: Suite dans la montagne
Camille SAINT-SAËNS: Caprice brillant
2011
Storms and Romantic melancholy
Devilish paraphrases
Thursday 6 October 2011 at 8 p.m.
Institut culturel italien de Paris
(France)
Sunday 21 August 2011 at 5 p.m.
Monday 19 September 2011
(France)
Galerie de bal, Palais Impérial de
Compiègne (France)
Wednesday 16 November 2011
at 8.30 p.m.
Alexei Lubimov, fortepiano
Sunday 13 November 2011 at 4.30 p.m.
Amphithéâtre, Cité de la Musique,
Paris (France)
Jan Ladislav DUSSEK: La Mort de Marie-Antoinette
Louis-Ferdinand HÉROLD: Piano Sonata in C minor, “L'Amante disperata”
Ludwig van BEETHOVEN: Piano Sonata no. 17, “The Storm”
Franz SCHUBERT: Wanderer Fantaisie
29
The Romantic saxophone
DUO ATYOPSIS
Alexandre Souillart, saxophone
Mathieu Acar, piano
Emancipation of the wind instruments
“Dramatic composers ought to consider the use of wind
instruments, which the Germans have understood so
well in using them in wind bands. [...] These various
instruments should now be used to contribute to expression.” Grétry, who was a precursor in many fields,
suggested very early on that musicians should recognise
the expressive potential of wind instruments. In the late
eighteenth century, it is true that the proliferation of
concert societies and the massive influx in Paris of soloists eager to perform there, enabled everyone to experience the amazement of hearing technical feats hitherto
unimaginable on the horn, clarinet, bassoon and so on.
The concertos and symphonies concertantes, created
by the dozen at the Concert Spirituel, then the Théâtres
Favart and Feydeau, subjugated audiences. “For some
time,” noted the Journal de Paris in 1801, “there has been
such a frenzied passion for instrumental music that the
genre is now the only one that is fashionable.” Indeed, all
30
the musical institutions in Paris turned to instrumental
concerts. The Académie Impériale de Musique, the Opéra
Comique and even the Chapelle des Tuileries proposed
original – and sometimes extreme – solutions in order
to satisfy the prevailing tastes and enable flute, oboe,
clarinet, horn and bassoon to show their mettle.
Tempering that enthusiasm would have meant turning
a deaf ear to the indisputable talent of the younger generation, recently graduated from the new Conservatoire:
every evening Tulou, Duvernoy, Lefebvre and Ozi would
show their skills in friendly battles on the Parisian stages. Moreover that was why the newly acquired virtuosity of the wind instruments flourished more readily in
the mould of the symphonie concertante: involving up
to ten soloists, allowing each to take the floor in turn, it
avoided monotony and favoured comparison.
ussy
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2
Hector BERLIOZ: Chant sacré
Jérôme SAVARI: Fantaisie on motifs from Der Freischütz
Jules DEMERSSEMAN: Fantaisie on an original theme
Georges BIZET: L’Arlésienne (Intermezzo)
Ambroise THOMAS: Hamlet (excerpt)
André CAPLET: Légende
Claude DEBUSSY: Rhapsodie for saxophone
Septet and octet
OCTUOR DE FRANCE
Jean-Louis Sajot, clarinet
Yuriko Naganuma, Jean-Christophe Grall, violins
Laurent Jouanneau, viola
Paul Broutin, cello
Michel Fouquet, double bass
Jacques Thareau, bassoon
Antoine Degremont, horn
Jean-Marie Poupelin, oboe
Tuesday 2 August 2011 at 8.30 p.m.
Chapelle Notre-Dame du Loc,
Saint-Avé (France)
Saturday 22 October 2011 at 5 p.m.
Tuesday 10 July 2012 at 8.45 p.m.
Église, Viscomtat (France)
Wednesday 10 August 2011
Chapelle Saint-Philibert, Trégunc
(France)
Thursday 11 August 2011
Orangerie de Bagatelle, Paris (France)
Tuesday 18 October 2011 at 8 p.m.
Conservatorio di musica Benedetto
Marcello, Venice (Italy)
Adolphe BLANC: Septet for violin, viola, cello, double bass, clarinet,
bassoon and horn
Antonin REICHA: Octet for oboe, clarinet, bassoon, horn, 2 violins, viola,
cello and double bass ad libitum
31
1800-1900
QUINTETTE À VENT DE PARIS
Vincent Lucas, flute
Olivier Doise, oboe
Patrick Messina, clarinet
Hervé Joulain, horn
Philippe Hanon, bassoon
Thursday 20 October 2011 at 8.15 p.m.
La Courroie, Entraigues-sur-laSorgue (France)
George ONSLOW: Quintet in F major op. 81
Antonin REICHA: Quintet no. 1 in E minor op. 88
Paul TAFFANEL: Quintet in G minor
Georges BIZET / David WALTER: Carmen Suite
Horn and piano
Claude Padoan, horn
Anna Barutti, piano
Emmanuel CHABRIER: Larghetto for horn and piano
Camille SAINT-SAËNS: Morceau de concert for horn and piano op. 94
Camille CHEVILLARD: Allegro for horn and piano op. 18
Eugène BOZZA: En forêt
Henri BUSSER: Cantecor op. 77
The birth of the French symphony
In the salons of the Empire
LA SINFONIE BOHÉMIENNE
Gilles Thomé, clarinet
François Fernandez, violin
Gabriel Grosbard, viola
Emmanuel Balssa, cello
Thursday 20 October 2011 at 8.30 p.m.
Salle Aglaé Moyne, Pamiers (France)
Charles-Simon CATEL: Clarinet Quartet in D minor op. 2 no. 3
Matthieu-Frédéric BLASIUS: Quatuor Concertant in B flat major
op. 1 no. 3
Charles DUVERNOY: Clarinet and string Quartet op. 2 no. 2
A hundred years of music for oboe
Patrick Beaugiraud, oboe
Lamia Bensmail, piano
Jacques WIDERKEHR: Oboe Sonata in E minor
Louis-Emmanuel JADIN: Nocturne
Camille SAINT-SAËNS: Oboe Sonata op. 166
Louis VIERNE: Largo and Canzonetta
Charles KŒCHLIN: Oboe Sonata op. 58
32
Julien Chauvin, violin and conductor
Thursday 5 January 2012 at 2.30 p.m.
and 8 p.m.
Opéra Comique, Paris (France)
Sunday 11 March 2012 at 8 p.m.
Philharmonie Cologne (Germany)
François-Joseph GOSSEC, Henri-Joseph RIGEL, Simon LEDUC,
Johann Christian BACH, Joseph HAYDN: symphonies
The Germanic heritage
Wednesday 26 October 2011 at 8.15 p.m.
Auditorium C. Pollini, Padua (Italy)
Friday 28 October 2011 at 8.45 p.m.
Teatro Comunale di Monfalcone (Italy)
Friday 4 November 2011 at 8 p.m.
Philippe Bernold, flute
Olivier Doise, oboe
Raphaël Sévère, clarinet
Médéric Debacq, bassoon
Benoit de Barsony, horn
Olivier Charlier, violin
Gérard Caussé, viola
Antoine Pierlot, cello
Yann Dubost, double bass
Tuesday 7 February 2012 at 8.30 p.m.
Théâtre du Jeu de Paume,
Aix-en-Provence (France)
Louise FARRENC: Nonette op. 28
Ludwig van BEETHOVEN: Serenade op. 25
Wolfgang Amadeus MOZART: Quartet for oboe and strings in F major
33
“Tragédiennes”
LES TALENS LYRIQUES
Christophe Rousset, conductor
Véronique Gens, soprano
“Fortes chanteuses” and “chanteuses à roulades”
The arrival of Gluck in Paris (1774) coincided with a revival of the vocal aesthetic of the Paris Opéra’s resident
company. At the instigation of a group of outstanding
artists, the French school of singing moved towards a
technique that, to a much greater extent than is commonly realised, anticipated the power of the Wagnerian
and Verdian roles of the following century. With its excessive enthusiasm, Paris even became the capital of a
“degenerate” vocal art that was dubbed “urlo francese”
(“French shrieking”) – enough said! “L’Opéra toujours/
Fait bruit et merveille:/ On y voit les sourds/ Boucher
leurs oreilles” – “The Opéra is always/ A subject of conversation and wonder:/ There one may see even the
deaf/ Stopping their ears” (lines from a lampoon of the
time). It was Mlle Maillard who really brought the mezzosoprano voice to the Opéra: a generous voice, dark tim-
34
bre, powerful high notes and a cavernous low register
were the features acclaimed by the press. At the same
time a stunned Parisian public discovered the first Italian contraltos, who came to perform in France from 1801
onwards. These divas sang almost as low as tenors and
possessed marvellous coloratura skills. Their success
convinced the new generation of French composers to
incorporate this type of voice into the cast for works in
which the traditional preference had been for the pairing of a lyric soprano and a dramatic soprano. After
the 1850s, the taste for pyrotechnical vocalises (known
as “roulades” in nineteenth-century France) gradually
died out, and priority was given to compositional roles
(Mignon, Carmen, Manon, and so on) that were less demanding vocally.
François-Joseph GOSSEC: Thésée (air, Médée)
Christoph Willibald GLUCK: Iphigénie en Tauride (air, Iphigénie)
Luigi CHERUBINI: Médée (overture)
Antonio SALIERI: Les Danaïdes (overture)
Étienne-Nicolas MÉHUL: Ariodant (air, Ina)
Stratonice (overture)
Rodolphe KREUTZER: Astianax (air, Cassandre)
Giacomo MEYERBEER: Le Prophète (air, Fidès)
Hector BERLIOZ: Les Troyens (air, Didon)
Guiseppe VERDI: Don Carlos (air, Élisabeth of Valois)
Vocalises
Julie Fuchs, soprano
Alphonse Cemin, piano
t
Lisz
11
20
Gioachino ROSSINI: Le Comte Ory
Léo DELIBES: Jean de Nivelle
Franz LISZT: Paraphrase sur Rigoletto
François-Adrien BOIELDIEU: La Fête du village voisin
Gaetano DONIZETTI: La Fille du régiment
Giacomo MEYERBEER: Le Pardon de Ploërmel
Emmanuel CHABRIER: Pièces pittoresques
Charles GOUNOD: La Colombe
Charles LECOCQ: Le Cœur et la Main
Wednesday 20 July 2011 at 8 p.m.
Grand Théâtre de Provence,
Sunday 14 August 2011 at 6.30 p.m.
Kultur und Kongresszentrum,
Lucerne (Switzerland)
Scuola Grande di San Rocco, Venice
(Italy)
Théâtre du Capitole, Toulouse
(France)
Tuesday 10 April 2012 at 8 p.m.
Friday 12 August 2011 at 8.30 p.m.
Salon du Bois des Moutiers,
Varengeville-sur-mer (France)
Sunday 5 February 2012 at 8 p.m.
Théâtre Impérial de Compiègne
(France)
Wednesday 15 February 2012 at 6 p.m.
Opéra de Lille (France)
35
Revolutions in Classical opera
LE CONCERT SPIRITUEL
Hervé Niquet, conductor
Julie Fuchs, soprano
Katia Velletaz, soprano
Jennifer Borghi, mezzo-soprano
Marie Kalinine, mezzo-soprano
Mathias Vidal, tenor
Jeffrey Thompson, tenor
Benoît Capt, baritone
Aimery Lefèvre, baritone
Salle Pasteur, Montpellier (France)
Tuesday 4 October 2011
Opéra Royal, Versailles (France)
Saturday 14 April 2012
Théâtre d'Arras (France)
Antonio SACCHINI: Renaud ou La Suite d’Armide (excerpts)
André-Ernest-Modeste GRÉTRY: Panurge dans l’île des lanternes (excerpts)
A new trade in virtuosity
I VIRTUOSI DELLE MUSE
Stefano Molardi, fortepiano and conductor
Jonathan Guyonnet, solo violin
Roberta Invernizzi, soprano
Henri-Joseph RIGEL: Concerto concertant op. 20 for solo violin and solo
piano in D major
Henri-Montan BERTON: Le Concert interrompu (scène de concert)
Nicolas-Marie DALAYRAC: Renaud d’Ast (overture)
François-Joseph GOSSEC: Symphonie Concertante in E flat major for 2 solo
violins and 2 solo violas
Symphonie Concertante du Premier Navigateur for solo flute, oboe,
clarinet, bassoon and horn
François DEVIENNE: Les Comédiens ambulants (overture)
André-Ernest-Modeste GRÉTRY: La Caravane du Caire (air for the Italian
Slave)
Wolfgang Amadeus MOZART: Idomeneo (aria for Illia, “Zeffiretti
lusinghieri”)
36
Tuesday 15 November 2011 at 9 p.m.
Thursday 17 November 2011 at 8 p.m.
Scuola Grande San Giovanni
Evangelista, Venice (Italy)
Saturday 19 November 2011
at 8.45 p.m.
Teatro Bibiena, Mantua (Italy)
Le salon
romantique
FESTIVAL | 4 –28 FEBRUARY 2012
Each winter the Palazzetto Bru Zane welcomes to Venice
artists from various horizons – promising young talents
or confirmed musicians – for a series of cartes blanches
devoted to the French Romantic repertoire. The programmes are worked out collegially by the Palazzetto
teams and the artists themselves, with the aim of presenting audiences with a varied panorama of famous works
and unknown rarities. A partnership network enables
these programmes to be presented in other parts of the
world and thus reach a very wide audience. This festival,
free from the constraint of obedience to a specific musical
theme, provides the ideal opportunity to show to its best
advantage the concert room at the Centre de musique romantique française, which is of a size comparable to that
of the nineteenth-century salons for which quartets, sonatas, romances and mélodies were composed. Thus, each
year, Le salon romantique is devoted almost exclusively
to the chamber works, both instrumental and vocal, that
are typical of that repertoire: sonata, duo, trio, quartet,
quintet, and so on, up to and including the piece for ten
musicians. Rare or “picturesque” instruments (harp,
saxophone, brass, and so on) are not excluded, nor are the
practices such as arrangement and transcription that
were common in the Romantic period but are not as well
known today as they might be.
Le salon romantique also provides an opportunity to
develop, or strengthen, the partnerships that the Palazzetto has initiated “extra muros”, particularly with international music competitions: Quatuors à Bordeaux,
Concours international de musique de chambre de Lyon,
Concours Rostropovitch, Concours international de piano
d’Orléans and the Paris International Opera Competition.
This festival also enables us to give students of a high level
of attainment the advantage of public contact in concert.
The 2011-2012 season thus carries on the close collaboration already begun with the Haute École de Musique de
Genève and the Conservatoire national supérieur de musique et de danse de Paris. Presented during the Carnival
period, fine works by Chopin, Debussy, Gounod, Duparc
and Fauré, but also Jadin, Onslow, Boëly, Wormser, Hüe,
Hillemacher, Diémer, Ropartz, Joncières, Massé, Bonis,
d’Indy and Caplet, will echo the effervescence of Venice at
that time of year with a sort of musical Carnival, in which
the mask of oblivion will be removed to reveal some of
the treasures of Romanticism that are still awaiting rediscovery.
39
FESTIVAL «LE SALON ROMANTIQUE» | 4 –28 FEBRUARY 2012
Quartet in the salon
Wednesday 1 June 2011
Marble Palace (Russian Museum),
St. Petersburg (Russia)
Friday 6 January 2012 at 1 p.m.
Sunday 8 January 2012 at 11 a.m.
Saturday 17 March 2012 at 8 p.m.
Chapelle du Calvaire, Paris (France)
May 2012
Oratorio S. FIlippo Neri, Bologna (Italy)
QUATUOR CAMBINI — PARIS
Julien Chauvin, Karine Crocquenoy, violins
Pierre-Éric Nimylowycz, viola
Atsushi Sakai, cello
Charles GOUNOD: String Quartet no. 3 in A minor
Théodore GOUVY: String Quartet
Félicien DAVID: String Quartet no. 4 in E minor
Friday 10 June 2011
Temple du Foyer de l’Âme, Paris
(France)
Sunday 11 December 2011 at 11 a.m.
Saturday 17 December 2011
Théâtre de Morlaix (France)
Monday 16 January 2012
Salle Poirel, Nancy (France)
Tuesday 7 February 2012
Temple d’Illkirch (France)
TRIO AnPaPié
Alice Piérot, violin
Fanny Paccoud, viola
Elena Andreyev, cello
Hyacinthe JADIN: string trios
Three for duos
César FRANCK: Violin Sonata
Claude DEBUSSY: Cello Sonata
Gabriel FAURÉ: Violin Sonata no. 2
40
CONTRASTE
Magali Léger, soprano
Karine Deshayes, mezzo-soprano
Didier Sandre, narrator
Monday 11 July 2011 at 8.30 p.m.
Abbatiale, Saint-Riquier (France)
ussy
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Maurice RAVEL, Claude DEBUSSY, Reynaldo HAHN: French mélodies
From one modernity to another
Théâtre des Terrasses, Gordes
(France)
Musiques en voûtes, Burgundy
(France)
Sunday 28 August 2011
Musiques en voûtes, Burgundy
(France)
Saturday 29 October 2011
Concert Hall of the Conservatory,
Singapore
November 2011
Hong Kong (China)
QUATUOR MANFRED
Marie Béreau, Luigi Vecchioni, violins
Emmanuel Haratyk, viola
Christian Wolff, cello
Mozart in France
Tedi Papavrami, violin
Anthony Leroy, cello
Sandra Moubarak, piano
An evening with Marcel Proust
ussy
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Monday 11 July 2011 at 4.30 p.m.
Église, Oneux (France)
Hyacinthe JADIN: String Quartet op. 2 no. 1
Gabriel FAURÉ: String Quartet op. 121
César FRANCK: String Quartet in D major
From one century to another
TRIO GEORGE SAND
Virginie Buscail, violin
Nadine Pierre, cello
Anne-Lise Gastaldi, piano
Jennifer Tani, soprano
t
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2011
t
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s
a
M
201
ussy
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Énglise, La-Côte-Saint-André
(France)
2
2
Franz LISZT: Tristia
Georges BIZET: Ouvre ton cœur
Charles GOUNOD: Le Soir
Hector BERLIOZ: La Captive – Absence
Claude DEBUSSY: Printemps
Jules MASSENET: On dit
Lili BOULANGER: D’un matin de printemps
41
“Panorama pianistique”
ussy
Deb
Andrea Bacchetti, piano
2
201
Luigi CHERUBINI: Piano Sonata no. 4 in G major
Francis POULENC: Novelette no. 1 in C minor
Théodore DUBOIS: Berceuse
Claude DEBUSSY: Clair de Lune (Suite bergamasque) – La Fille aux cheveux
de lin (Preludes, book 1 no. 8) – Bruyères (Preludes, book 2 no. 5) –
La Cathédrale engloutie (Preludes, book 1 no. 10)
Louis DIÉMER: Nocturne no. 1
Frédéric CHOPIN: Nocturnes op. 9 nos. 1 and 2 –
Fantaisie-Impromptu op. 66
The art of transcription
Héloïse Luzzati, cello
Constance Luzzati, harp
t
sene
Mas
201
2
Louis VIERNE: Sonate for cello and harp
Gabriel FAURÉ: mélodies (transcription)
George ONSLOW: Sonata for cello and harp
Jules MASSENET: Méditation de Thaïs
From Germany…
TRIO ARCADIS
Anne-Claire Lantenois, piano
Amandine Ley, violin
Nicolas Saint-Yves, cello
Saturday 10 September 2011
(France)
Saturday 18 February 2012 at 5 p.m.
Thursday 15 September 2011
Hôpital Sainte-Périne, Paris (France)
Musée-Promenade Marly-le-Roi,
Louveciennes (France)
Saturday 14 January 2012
Hôtel de Soubise (Archives
nationales), Paris (France)
Sunday 18 September 2011 at 3 p.m.
Hérold, the French Schubert
Romain Descharmes, piano
Louis-Ferdinand HÉROLD: Variations on “Au clair de la Lune”
Piano Sonata in A flat major
Piano Sonata in C minor, “L‘Amante disperata”
Franz SCHUBERT: Piano Sonata in A minor
Cantatas for the Prix de Rome
Katia Velletaz, soprano
Philippe Do, tenor
Pierre-Yves Pruvot, baritone
Stéphane Jamin, piano
Thursday 6 October 2011
Villa Medici, Rome (Italy)
Friday 14 October 2011
Friday 3 February 2012 at 8.30 p.m.
Institut National des Jeunes
Aveugles, Paris (France)
Monday 28 May 2012 at 8 p.m.
Palais Montcalm, Quebec (Canada)
Georges HÜE: Médée
André WORMSER: Clytemnestre
Paul-Joseph HILLEMACHER: Judith
Max D’OLLONE: Frédégonde
Ernest CHAUSSON: Piano Trio
Théodore GOUVY: Piano Trio no. 4
Théodore DUBOIS: Promenade sentimentale
42
43
At the time of Wagnerianism
Thursday 3 November 2011
QUATUOR ALMA AMADÉ
Heide Sibley, Claire Jolivet, violins
Elizabeth Gex, viola
Aude Vanackère, cello
From opera to operetta
Julien Le Hérissier, piano
tier
Gau
2011
Charles GOUNOD: Sapho
Emmanuel CHABRIER: L’Étoile
Ambroise THOMAS: Mignon
Jacques OFFENBACH: La Périchole – La Grande Duchesse de Géroldstein
Georges BIZET: Carmen
Mireille Delunsch, soprano
Marie-Josèphe Jude, piano
Théodore GOUVY: String Quartet op. 68
Richard WAGNER: Wesendonck lieder
Ernest CHAUSSON / Franck VILLARD: Poème de l’Amour et de la Mer
Treasures of the “opéra-comique”
“Ariettes oubliées”
Estelle Béréau, soprano
Charlotte Bonneu, piano
ussy
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201
Ernest CHAUSSON: mélodies
Reynaldo HAHN: mélodies
Claude DEBUSSY: Ariettes oubliées – Clair de Lune
Maurice RAVEL: Mélodies populaires grecques
Four hands
Sanja and Lidija Bizjak, piano
Frédéric CHOPIN: Variations in D major
Hyacinthe JADIN: Sonata in F major
George ONSLOW: Sonata in F minor
Pierre-Alexandre BOËLY: Sonata in F minor
44
Saturday 10 March 2012
Hôtel de Soubise (Archives
nationales), Paris (France)
Yumiko Tanimura, soprano
Sébastien Droy, tenor
Franck Villard, piano
tier
Gau
2011
Sunday 15 January 2012
Palais Fesch, Ajaccio (France)
Friday 18 May 2012 at 8.30 p.m.
Friday 25 November 2011 at 8.30 p.m.
Institut National des Jeunes Aveugles,
Paris (France)
Charles GOUNOD: Mireille (airs and duet)
Victor MASSÉ: Paul et Virginie (duet)
Gaetano DONIZETTI: La Fille du régiment (airs et duet)
Victorin JONCIÈRES: Le Chevalier Jean (duet)
Thursday 17 November 2011 at 8.30 p.m.
Sunday 20 November 2011
Palazzetto Bru Zane, Venise (Italy)
Sunday 29 February 2012 at 4.30 p.m.
Gallerie di Palazzo Leoni Montanari,
Vicenza (Italy)
45
“Mélodies”
Philippe Jarrousky, countertenor
Jérôme Ducros, piano
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201
2
Thursday 9 February 2012 at 8.30 p.m.
Théâtre du Jeu de Paume, Aix-en-Provence (France)
Gabriel DUPONT: Mandoline
Ernest CHAUSSON: Le Colibri, op. 2 no. 7 – Papillons, op. 2 no. 3 –
Les Heures, op. 27 no. 1 – Le Temps des lilas (Poème de l’Amour et de la
Mer, op. 19)
Camille SAINT-SAËNS: Tournoiement (Songe d’opium), op. 26 no. 6
Reynaldo HAHN: Offrande – Trois Jours de vendange – Quand je fus pris
au pavillon (12 Rondels no. 8) – L’Heure exquise – Fêtes galantes
Jules MASSENET: Nuit d’Espagne
Gabriel FAURÉ: Automne, op. 18 no. 3 – En Sourdine, op. 58 no. 1 –
Nell, op. 18 no. 1
César FRANCK: Nocturne – Prélude pour piano
Guillaume LEKEU: Sur une tombe (3 Poèmes no. 1)
Cécile CHAMINADE: Mignonne – Automne, op. 35 no. 2 – À Chloris –
Sombrero (excerpt)
Time for modernity
Alexis Descharmes, cello
Sébastien Vichard, piano
Jean-Guy ROPARTZ: Cello Sonata no. 2
Henri DUPARC: Cello Sonata
Gabriel FAURÉ: Cello Sonata no. 1 op. 109
46
Music for wind instruments
Sunday 26 February 2012 at 4.30 p.m.
Gallerie di Palazzo Leoni Montanari,
Vicenza (Italy)
ENSEMBLE INITIUM
Édouard Sabo, Julien Vern, flutes
Guillaume Deshayes, Armel Descotte, oboes
François Lemoine, François Tissot, clarinets
Julien Desplanque, Stéphane Bridoux, horns
Baptiste Arcaix, Franck Sibold, bassoons
Georges ENESCO: Dixtuor in D major op. 14
Mel BONIS: Suite antique
Vincent D’INDY: Chanson et danses op. 50
André CAPLET: Suite persane
“L’invitation au voyage…”
Tassis Christoyannis, baritone
Thanassis Apostolopoulos, piano
Thursday 16 February 2012 at 8 p.m.
t
sene
Mas
201
2
Ernest REYER: Pourquoi ne m’aimez-vous ?
Henri REBER: Au bord du ruisseau
Édouard LALO: L’Aube naît – Souvenir
Jules MASSENET: Si tu veux, mignonne – Sérénade – Loin de moi ta lèvre
qui ment – Le Sentier perdu – Que l’heure est donc brève – Souhait –
À mignonne
Gabriel FAURÉ: Nocturne no. 2 – Après un rêve – Au bord de l’eau –
Clair de Lune – Les Berceaux
Henri DUPARC: L’Invitation au voyage – Chanson triste – Soupir –
La Vague et la Cloche
Reynaldo HAHN: Venezia – Sopra l’acqua indormenzada – L’Avertimento
Tuesday 28 February 2012 at 8 p.m.
Thursday 1 March 2012 at 8.15 p.m.
47
Tribute to Claude Debussy
Philippe Graffin, violin
Claire Désert, piano
ussy
Deb
201
Tuesday 28 February 2012 at 8.15 p.m.
2
Claude Debussy, Edvard Grieg: pieces for violin and piano
The French cello school François Salque, cello
Éric Le Sage, piano
Wednesday 30 May 2012 at 8 p.m.
Camille SAINT-SAËNS: Cello Sonata
Gabriel FAURÉ: Cello Sonata
Mélodies françaises
Jean-François Lapointe, baritone
NN, piano
Gabriel FAURÉ, Reynaldo HAHN, Henri DUPARC,
Francis POULENC: mélodies
48
Saturday 2 June 2012 at 8 p.m.
Théodore Dubois
(1837-1924)
and official art
FESTIVAL | 14 APRIL –27 MAY 2012
Théodore Dubois, born in 1837, was a gifted pupil,
whose brilliant studies at the Paris Conservatoire were
rewarded by several first prizes, notably for piano and
composition, and the Prix de Rome (1861). On his return
from Italy, he began a regular and patient ascent: he was
appointed professor of harmony at the Conservatoire
in 1871, professor of composition ten years later, and
finally director from 1896 until his retirement in 1905.
Simultaneously, he devoted himself to church music,
notably as organist of La Madeleine (1877-1896). He was
also honoured by official milieus, and became a member
of the Institut de France in 1894. His reputation suffered
posthumously from his having held that privileged
position. Yet, while remaining faithful to his ideals
of clarity and respect for tradition, he was aware of
the advances made in his time, as is borne out by his
membership of the Société Nationale de Musique. Eclectic
in its inspiration, his œuvre is vast and varied, approaching
every genre and identifying as much with César Franck
and Schumann as with Brahms or Saint-Saëns.
The “unpopular” Dubois, seen above all as the author of
a daunting Traité d’harmonie, represented the official
milieu of fin-de-siècle France, over which hung the
disturbing shadow of an “academicism” in art that was
fiercely decried. Now, however, with sufficient hindsight,
we can see the music of that time and milieu more
objectively and give it the chance it deserves, revealing
an art that has surprisingly intoxicating charms. We
shall also summon once illustrious (but now famously
unknown) contemporaries of Dubois, who bore such
names as Gouvy, De La Tombelle, Paladilhe, Chaminade,
Bordes, Duvernoy, Pfeiffer… All of them, no doubt, have
patiently paid their tribute to the purgatory of posterity.
And as Dubois wrote in the final pages of his diary: “I
don’t know if I am wrong; but somehow I feel certain
that if later, after I am gone, [my works] fall into the
hands of fair-minded musicians and critics, the tide
will turn in my favour! I won’t be there to enjoy it, but it
doesn’t matter, it is nice to think about it! [...]There must
be enough good works among all those I leave to do me
some justice!” (18 December, 1922). The time has come,
Monsieur Dubois!
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FESTIVAL «THÉODORE DUBOIS AND official art» | 14 APRIL – 27 MAY 2012
At the Société des Concerts du Conservatoire
LA CHAMBRE PHILHARMONIQUE
Emmanuel Krivine, conductor
Anna Caterina Antonacci, soprano
When the concert societies set the tone...
To describe fully a period as vast and complex musically as the Second Empire and the Third Republic (a period corresponding to Dubois’s activity as a composer)
we must evoke that vector of dissemination, the great
concert societies. Thus, the Société des Concerts du Conservatoire, founded in 1828 by Habeneck to enable the
public to discover the works of Beethoven, was to have
a significant influence on the art of a whole generation
of composers. It was followed, some decades later, by
the three societies founded by Pasdeloup (1861), Colonne
(1873) and Lamoureux (1881), and the Société Nationale
de Musique (1871) and its rival the Société de Musique Indépendante (1909). All of these were excellent orchestras
which not only presented the first performances of many
famous works, but also contributed to the influence of
the avant-garde at the turn of the century. Touching on
every genre and every period, the programmes of that
time were very eclectic: a mosaic of overtures, operatic
excerpts, symphonies, concertos, symphonic poems and
genre pieces, secular works and religious compositions,
French and foreign, from the briefest mélodie to the
most ambitious oratorio. Without a shadow of a doubt,
the history of the aesthetic revolution accomplished in
Paris during the second half of the nineteenth century
was only possible through the combined efforts of those
concert societies, where the works of Dubois were heard
regularly.
Thursday 18 August 2011 at 9 p.m.
Château Louis XI,
t
Lisz
2011
Hector BERLIOZ: Béatrice et Bénédict (overture)
Les Nuits d’été op. 7
Franz LISZT: Mazeppa
Les Préludes
Mystery and melancholy
LES SIÈCLES
Château Louis XI,
t
Lisz
2011
Franz LISZT: Dante Symphonie
Hector BERLIOZ: Tristia op. 18
Romantic heroes
ORCHESTRE NATIONAL DE LYON
Eliahu Inbal, conductor
Charles Castronovo, tenor
t
Lisz
Château Louis XI,
2011
Franz LISZT: Faust Symphonie
Hector BERLIOZ: Roméo et Juliette (excerpts)
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53
Berlioz the Revolutionary
Château Louis XI,
ORCHESTRE EUROPÉEN HECTOR BERLIOZ
CHŒUR BRITTEN
Hector BERLIOZ: Marche marocaine – Marche d’Isly –
Huit Scènes de Faust op. 1
Jean-Paul-Égide MARTINI / Hector BERLIOZ: Plaisir d’amour
Claude-Joseph ROUGET DE LISLE / Hector BERLIOZ: Chant des Marseillais
Gala: Massenet Centenary
LES SIÈCLES
Marie-Josèphe Jude, piano
t
sene
Mas
2
201
Jules MASSENET: Scènes alsaciennes – Piano Concerto – Le Cid (ballet) –
Louise de Mézière
“Sur un air de danse”
“À la française…”
LES SIÈCLES
Alain Planès, piano
ussy
Deb
2
201
Théodore DUBOIS: Symphonie française
Claude DEBUSSY: La Mer
Fantaisie for piano and orchestra
A Sunday at the Châtelet
BRUSSELS PHILHARMONIC
Emmanuel Ceysson, harp
ussy
Deb
201
2
Tuesday 10 April 2012
Le Mail, Soissons (France)
Wednesday 11 April 2012
Monte-Carlo
Thursday 12 April 2012 at 8.30 p.m.
Grand Théâtre de Provence,
Friday 13 April 2012 at 8.30 p.m.
Auditorium Parco della musica,
Rome (Italy)
Sunday 15 April 2012 at 5 p.m.
Scuola Grande di San Rocco,
Venice (Italy)
ORCHESTRE POITOU-CHARENTES
Jean-François Heisser, piano and conductor
Marc Coppey, cello
Thursday 24 May 2012
Le Mans (France)
Camille SAINT-SAËNS: Danse macabre
Théodore DUBOIS: Andante for cello and orchestra
Suite concertante for cello, piano and orchestra
Maurice RAVEL: Boléro
Thursday 3 May 2012 at 8.15 p.m.
Salle Flagey, Brussels (Belgium)
Saturday 5 May 2012 at 8 p.m.
Scuola Grande di San Rocco,
Venice (Italy)
Théodore DUBOIS: Ouverture symphonique (1894)
Claude DEBUSSY: Danse sacrée et danse profane for harp and orchestra
Gabriel PIERNÉ: Konzertstück for harp and orchestra
Théodore DUBOIS: Symphonie no. 2 in D major
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55
Daniel Klajner, conductor
Gal James, soprano
Friday 28 and Saturday 29 October
2011 at 8 p.m.
La Filature, Mulhouse (France)
Théodore DUBOIS: In Memoriam mortuorum
Richard STRAUSS: Vier letzte Lieder
Johannes BRAHMS: Symphony no. 4
ORCHESTRE SYMPHONIQUE
DE MULHOUSE
Dubois, “resident composer”
The Orchestre de Mulhouse will be paying tribute to Théodore Dubois by posthumously adopting him as their “resident composer” for the 2011-12 season. From autumn to spring, the orchestra, their conductor and several international soloists will be presenting completely forgotten works by Dubois, such as the Fantaisie for harp, the Three Symphonic Sketches, and the Dixtuor for double quintet.
Julia Jones, conductor
Alexander Sitkowetski, violon
Théodore DUBOIS: Trois Esquisses orchestrales
Ernest CHAUSSON: Poème for violin and orchestra
Pablo DE SARASATE: Zigeunerweisen
Francis POULENC: Les Biches
Daniel Klajner, conductor
Friday 25 and Saturday 26 November
2011 at 8 p.m.
Friday 30 and Saturday 31 March
2012 at 8 p.m.
Théodore DUBOIS: Fantaisie for harp and orchestra
Piotr Illitch TCHAÏKOVSKY: Symphonie nº 6 “Pathétique”
Christoph EHRENFELLNER: Pièce pour orchestre
SOLOISTS OF THE ORCHESTRE SYMPHONIQUE DE MULHOUSE
Théodore DUBOIS: Dixtuor
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Tuesday 5 and Wednesday 6 June
2012 at 7 p.m.
Musée de l’impression sur étoffe,
Mulhouse (France)
57
From Saint-Clotilde to La Madeleine
ENSEMBLE VOIX CÉLESTES
Marco Cortinovis, organ and conductor
Yoko Takeuchi, Hélène Richer, sopranos
Clara Izambert, harp
Lucile Mauchoffé, cello
Sacred art and official art
Just as sacred music and religious music are persistently
confused, French church music of the nineteenth century is often seen as a consummate expression of official
art – with the word “official” taken to mean “academic”
and “conservative”, thus disregarding the variety of
means brought into play and the perspicacity of certain
organists or maîtres de chapelle, such as Saint-Saëns,
Franck, Baptiste, Fauré and Pierné. In the cities, church
services were accompanied by ensembles composed basically of a few soloists gathered around a harmonium,
or a great organ when required. In the wealthiest chapels, a violin, cello, harp and double bass would support a
larger choir, whose soloists would perform solos worthy
of grand opera. At the same time religious music made
its way into the concert hall, where large-scale biblical
works in the tradition of the oratorios of Mendelssohn
and Liszt were given regularly – precious works that
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have now been forgotten: Le Passage de la Mer Rouge
(Rabuteau, 1871), L’Incarnation de Jésus (Maréchal,
1873), Sainte Geneviève (Hillemacher, 1877), Le Sinaï
(Broutin, 1880), Saül (Hüe, 1880), Saint Georges (Vidal,
1884), Les Saintes Maries de la Mer (Paladilhe, 1890)...
and the more famous Martyre de Saint Sébastien by
Debussy. Organist of the churches of Sainte-Clotilde and
La Madeleine, Théodore Dubois composed many masses,
motets and oratorios, the finest of which are probably
his Messe pontificale, Les Sept Paroles du Christ and Le
Paradis perdu, not to mention some motets using spectacular forces. He also left several books of more or less
ambitious organ pieces.
t
sene
Mas
201
2
Théodore DUBOIS, Mel BONIS, Jules MASSENET, César FRANCK,
Camille SAINT-SAËNS, Charles-Valentin ALKAN, Pierre-Louis DIETSCH,
Gabriel FAURÉ and Georges BIZET: motets and instrumental pieces
“Via Crucis”
ESCALE CHROMATIQUE
Samuel Crowther, conductor
Jean-Yves Clément, narrator
Marie-Paule Milone, mezzo-soprano
Pierre Bleuse et Simon Milone, violins
Cécile Grassi, viola
Alain Meunier, cello
Laurène Durantel, double bass
Denis Pascal, piano
Florence Sitruk, harp
t
Lisz
Sunday 8 May 2011 at 11 a.m.
Abbaye de Royaumont (France)
Duomo, Bergamo (Italy)
Wednesday 20 July 2011 at 8.45 p.m.
Church, Arconsat (France)
Abbaye de Royaumont (France)
Wednesday 29 June 2011 at 9 p.m.
Cathédral Sainte-Cécile, Albi (France)
2011
Théodore DUBOIS: Agnus Dei – Tantum ergo – Ave Maria –
Panis angelicus
Franz LISZT: Ave verum – Via Crucis
Charles-Valentin ALKAN: Deuxième Verset du Psaume 41
Camille SAINT-SAËNS: La Cloche
César FRANCK: Panis angelicus
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LES CRIS DE PARIS
LES SOLISTES DES SIÈCLES
Chappelle de la Fondation d'Auteuil,
Abbatiale de Saint-Ouen, Rouen
(France)
Geoffroy Jourdain, conductor
Chantal Santon, Ève
Jennifer Borghi, L’Archange
Mathias Vidal, Adam
Alain Buet, Satan
Cyrille Dubois, Uriel / Jésus
Théodore DUBOIS: Le Paradis perdu
“Dona eis requiem…”
ORCHESTRE DE PICARDIE
ACCENTUS
Laurence Equilbey, conductor
Edwige Parat, soprano
Matthew Brook, baritone
ussy
Deb
Abbatiale de Saint-Riquier (France)
VLAAMS RADIO KOOR
Ensemble instrumental
Chantal Santon, soprano
Mathias Vidal, tenor
Benoît Capt, baritone
Théodore DUBOIS: Messe pontificale
Benedicat vobis
Gabriel FAURÉ: Ave verum op. 65/1
Messe basse
Émile PALADILHE: Panis angelicus n. 3
Charles GOUNOD: Sancta Maria
Saturday 17 September 2011
at 8.30 p.m.
Église Saint-François,
Boulogne-sur-Mer (France)
Thursday 26 April 2012 at 8.15 p.m.
Jezuïetenkerk, Lier (Belgium)
Friday 27 April 2012 at 8.15 p.m.
Florakerk, Merelbeke (Belgium)
Sunday 29 April 2012 at 5 p.m.
2
201
Pomp and circumstance
Gabriel FAURÉ: Requiem
Cantique de Jean Racine
Claude DEBUSSY: Pelléas et Mélisande (prelude)
Masses for Saint-Sulpice
LE CHŒUR INTERNATIONAL
Michel Brousseau, conductor
Maria Knapik, soprano
Marc Boucher, baritone
Christopher Hainsworth, organ
Théodore DUBOIS: Messe de la délivrance
Messe solennelle de Saint Rémi
60
Tradition and modernity
Thursday 18 August 2011 at 8.30 p.m.
Cathédrale de Montpellier (France)
Église de La Madeleine, Paris (France)
Monday 22 August 2011 at 8.30 p.m.
Cathédrale Notre-Dame, Paris (France)
Thursday 25 August 2011 at 6 p.m.
Cathédrale de Metz (France)
Saturday 27 August 2011 at 8.30 p.m.
Cathédrale de Reims (France)
ORCHESTRE NATIONAL DE CHAMBRE DU LUXEMBOURG
Chœur Universitaire du Luxembourg
Maîtrise de la Cathédrale Saint-Étienne de Metz
Ars Musica de Nancy
Nicolas Brochot, conductor
Elena Prokina, soprano
Benoît Haller, tenor
Jean-Paul Majérus, baritone
Tuesday 15 November 2011 at 8 p.m.
Ambroise THOMAS: Messe solennelle
Romantic organ
Diego Innocenzi, organ
February 2012
Cathedral of the Holy Cross,
Boston (USA)
Théodore DUBOIS, Édouard BAPTISTE, Camille SAINT-SAËNS,
César FRANCK: organ pieces
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From Saint-Sulpice to La Madeleine
SCHOLA CANTORUM DE HARTFORD
SOLI DEO GLORIA ORCHESTRA
Ezequiel Menéndez, organ
Friday 17, Saturday 18 and Friday 24
February 2012
The Cathedral of Saint Joseph,
Hartford (USA)
Organists of the American Guild of Organists
Théodore DUBOIS, Charles GOUNOD, Camille SAINT-SAËNS,
César FRANCK: organ pieces
LES FILLES DE L’ÎLE – LES CHANTRES MUSICIENS
Gilbert Patenaude, conductor
Anne Saint-Denis, soprano
t
sene
Mas
2
201
“Paradise lost”
Monday 20 February 2012
St Ignatius Loyola, New York (USA)
The Brick Presbyterian Church,
New York (USA)
CHŒUR DE LA SOCIÉTÉ PHILHARMONIQUE DU NOUVEAU MONDE
Michel Brousseau, conductor
Basilica dei Frari, Venice (Italy)
Romantic organ
Pierpaolo Turetta, organ
Théodore DUBOIS, César FRANCK, Charles-Marie WIDOR...: organ pieces
Théodore DUBOIS: Douze Pièces pour grand organ (excerpts)
Charles-Marie WIDOR: Organ Symphony no. 5 in F sharp minor
Romantic eternity
LES SIÈCLES
Charles GOUNOD: Requiem
Jules MASSENET: Scènes alsaciennes
Complexe Athéna,
La Ferté-Bernard (France)
Sunday 3 June 2012
Église, Saint-Lambert (Canada)
Théodore DUBOIS: Le Paradis perdu
Daniel Roth, organ
Romantic organ
Friday 1 June 2012
Théodore DUBOIS et ses contemporains: motets
Théodore DUBOIS: Les Sept Paroles du Christ
Camille SAINT-SAËNS: motets
César FRANCK: motets
Romantic organ
From Sainte-Clotilde to La Madeleine
Diego Innocenzi, organ and conductor
NN, soprano
Emiliano Gonzalez Toro, tenor
NN, bass
Sunday 17 June 2012 at 4 p.m.
Église Saint-Sulpice, Paris (France)
Thursday 20 september 2012
at 8.30 p.m.
Église Saint-Sulpice, Paris (France)
Théodore DUBOIS: motets with organ
MAÎTRISE DE RADIO FRANCE
Sofi Jeannin, conductor
Sunday 30 september 2012 at 5 p.m.
Victoria Hall, Geneva (Switzerland)
Théodore DUBOIS, Camille SAINT-SAËNS, Francis POULENC,
César FRANCK: motets
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63
The French harp school
Boris Grelier, flute
Laurent Camatte, viola
Marie Normant, harp
Musical afternoons and evenings… from four to ten
Dominated for a very long time by dramatic works,
French music, in the course of the nineteenth century,
went through a period of profound questioning of traditional hierarchies. Less concerned about the stage, composers gradually turned to the concert halls and salons
– new centres of experimentation, the results of which
were soon the admiration of the whole of Europe. Thus,
while a new symphonic school was being born, the field
of chamber music experienced a keen revival of interest. Furthermore, the radical transformation of musical
practice after the Revolution led to a constantly growing
demand for novelty from a keen amateur public. To the
seminal works of Hyacinthe Jadin, Cherubini and Onslow
(the undisputed master of French chamber music at the
time of Berlioz) were gradually added the equally ambi-
tious opuses of Reber, David, Gouvy, Farrenc, Saint-Saëns,
then Fauré, Debussy and Ravel – challenging works, difficult to perform, which favoured the emergence of professional ensembles. To such ensembles Dubois dedicated
several of the essential works in his corpus of chamber
music, in which the two string quartets in particular
show a wealth of inspiration. More curious, but no less
interesting, the Nonette (for flute, oboe, clarinet, bassoon
and string quintet) and the Dixtuor (the instruments of
the nonet plus a horn) are lengthy pieces, with a formal
conception and a gravity that come as a surprise in this
repertoire.
Thursday 2 June 2011 at 4 p.m.
Église, Dominois (France)
ussy
Deb
201
2
Théodore DUBOIS: Fantasietta
Michel TOURNIER: Vers la source dans le bois
Camille SAINT-SAËNS: Le Cygne
Claude DEBUSSY: Sonata for flute, viola and harp
The Romantic trumpet
Friday 22 July 2011 at 8.30 p.m.
Église, Rue (France)
CONVERGENCES
Romain Leleu, trumpet
Théodore DUBOIS: Fantaisie for trumpet and strings (transcription)
Georges BIZET: Andantino for string quintet
Charles GOUNOD: Prière for trumpet and strings
Camille SAINT-SAËNS: String Quartet op. 112 (Andante)
Official art and modernity
QUATUOR RAPHAËL
Pierre Fouchenneret et Pablo Schatzman, violins
Arnaud Thorette, viola
Maja Bogdanovic, cello
ussy
Deb
201
2
Sunday 24 July 2011 at 6 p.m.
Abbaye de Valloires (France)
Saturday 28 April 2012 at 5 p.m.
Grand Théâtre de Bordeaux (France)
Théodore DUBOIS: String Quartet no. 2
Claude DEBUSSY: String Quartet
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65
Carnival, french style
LES SOLISTES DES SIÈCLES
Claire Désert and Marie-Josèphe Jude, piano
Théodore DUBOIS: Dixtuor
Camille SAINT-SAËNS: Le Carnaval des animaux
Wagner in Paris
Students of the Hautes Écoles de Musique de Genève
et de Lausanne
Rémy Campos et Aurélien Poidevin, coordination
Alain Zaepffel, director (actors)
Laurent Gay, musical director
Tuesday 20 September 2011 at 8.30 p.m.
Wednesday 28 September 2011
at 8.30 p.m.
Église Saint-Maurice,
Salins-les-Bains (France)
Thursday 29 September 2011
at 8.30 p.m.
Théâtre Edwige Feuillère, Vesoul (France)
Tuesday 15 November 2011 at 2.30 p.m.
Théâtre Impérial de Compiègne (France)
Thursday 8 December 2011 at 8.30 p.m.
Église, Saint-Cannat-les-Prêcheurs,
Marseille (France)
Amphitheatre, Cité de la musique,
Paris (France)
March 2012
Theatre, La Chaux-de-Fonds
(Switzerland)
Friday 30 and Saturday 31 March
2012
Amphitheatre de l’Opéra Bastille,
Paris (France)
QUATUOR DIOTIMA
Yun-Peng Zhao, Naaman Sluchin, violins
Franck Chevalier, viola
Pierre Morlet, cello
Philippe Bernold, flute
Svetlin Roussev, violin
Miguel Da Silva, viola
Henri Demarquette, cello
May 2012
Le Mans (France)
ussy
Deb
201
2
Théodore DUBOIS: Fantasietta
Jean CRAS: Quintet
Claude DEBUSSY: Sonata
Carnival, french style
QUATUOR DEBUSSY
Christophe Collette, Dorian Lamotte violins
Vincent Deprecq, viola
Fabrice Bihan, cello
Le Mans (France)
Claire Désert and Emmanuel Strosser, piano
Camille SAINT-SAËNS: Le Carnaval des animaux
Théodore DUBOIS: Piano Quintet
Dubois and opera
Richard WAGNER: Les Maîtres chanteurs de Nuremberg
(French version by Alfred Ernst, 1897) – Act III, Scene 1
Conservatoire versus Schola cantorum
The romantic harp
Church, Saint-Lambert (Canada)
CHŒUR DE LA SOCIÉTÉ PHILHARMONIQUE DU NOUVEAU MONDE
Jean-Claude Malgoire, conductor
June 2012
Château d’Hardelot (France)
Théodore DUBOIS: Aben Hamet
Théodore DUBOIS: String Quartet no. 1
Vincent D’INDY: String Quartet
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67
Piano Quintet
Sunday 10 July 2011 at 4.30 p.m.
Sunday 4 December 2011
Saint-Nicolas des Lorrains, Rome
(Italy)
Friday 23 March 2012 at 8.30 p.m.
QUATUOR ARDEO
Olivia Hughes, Carole Petitdemange, violins
Caroline Donin, viola
Joëlle Martinez, cello
David Violi, piano
Around the piano
The piano lost no time in ousting the violin to become
the favourite instrument of the Romantics. That resulted in a growing practice which brought about a
radical change in the usual balances in musical writing. By turns a soloist, an accompanist or a member of
the ensemble like an orchestral musician, the keyboard
opened up new horizons for the hitherto predominant
string quartet and quintet. Théodore Dubois, more than
others, paid an enthusiastic tribute to the repertoire for
solo piano or for piano with other instruments. In this
corpus his Piano Sonata, Les Heures, his Poèmes alpestres
and Poèmes sylvestres and the more experimental Poèmes
virgiliens stand out. For keyboard and other instruments,
Dubois left two sonatas (one for violin and the other for
cello), two trios, a quartet, an original quintet in which
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he used an oboe in place of one of the violins, and several
miniatures with colourful titles, such as the touching
Promenade sentimentale for violin, cello and piano. All
of them interesting, these pieces were composed for the
most part between 1890 and 1920, just before and during
the composer’s retirement. He completed one of his two
string quartets at the age of eighty. In many respects
these works undoubtedly deserve the revival that has
only recently begun through recordings and concerts.
Dubois also left many arrangements of his orchestral
music for piano four hands; these were carefully transcribed and expertly ratified by his wife, the virtuoso
pianist Jeanne Duvinage.
Théodore DUBOIS: Piano Quintet
Reynaldo HAHN: Piano Quintet
The French violin school
Elsa Grether, violin
Eliane Reyes, piano
ussy
Deb
Gabriel PIERNÉ: Sonata for violin and piano op. 36
Théodore DUBOIS: Sonata for violin and piano
Gabriel FAURÉ: Les Berceaux
Alfred BRUNEAU: Romance in F major
Claude DEBUSSY: Printemps
201
2
Église, Palladuc (France)
Abbaye, Talloires (France)
Thursday 17 May 2012 at 8 p.m.
Saturday 7 July 2012 at 8 p.m.
Salle de l’Harmonie de Verviers
(Belgium)
Thursday 12 July 2012 at 12.15 p.m.
Conservatoire royal de Bruxelles
(Belgium)
Friday 13 July 2012 at 12.15 p.m.
30CC / Centre culturel de Leuven
(Belgium)
Saturday 14 July 2012
Festival des Forêts (France)
Saturday 1 September 2012 at 7 p.m.
Serres d’Auteuil, Paris (France)
69
The French piano school
Église, Argoules (France)
ussy
Deb
Mara Dobresco, piano
Camille SAINT-SAËNS: Six Bagatelles op. 3
Théodore DUBOIS: Scherzo and Chorale op. 18
Frédéric CHOPIN: Polonaise-Fantaisie op. 61
Claude DEBUSSY: Pour le piano
201
“Vers le cimes...”
Claire Hamon, piano
2
201
Maja Bogdanovic, cello
Julien Gernay, piano
ussy
Deb
201
2
Théodore DUBOIS: Cavatina – Andante cantabile
Claude DEBUSSY: Sonata for cello and piano
Gabriel FAURÉ: Romance – Papillon – Élégie
Reinhold GLIÈRE: Trois Pièces op. 51
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2
“Salon des Refusés”
QUATUOR SATIE
Frédérique Aurier, Julie Friez, violins
Patrick Oriol, viola
Guillaume Lafeuille, cello
Laurent Martin, piano
2
Théodore DUBOIS: Vers les cimes (from Les Poèmes alpestres)
Gabriel FAURÉ: Berceuse
Jules MASSENET: Méditation de Thaïs
Camille SAINT-SAËNS: Fantaisie
Miniatures
ussy
Deb
Théodore DUBOIS: Postlude triste – À Cache-cache
(excerpts from Ombre et Lumière)
Frédéric CHOPIN: Scherzo no. 4 op. 54
Claude DEBUSSY: Hommage à Rameau
t
sene
Mas
Charles Quentin de Gromard, violin
Louise Akili, piano
The French harp school
Église, Escoutoux (France)
Théodore DUBOIS: Piano Quartet in D minor
Fernand DE LA TOMBELLE: Piano Quartet in E minor
René LENORMAND: Suite op. 27 for piano and string quartet (Intermezzo)
Piano trio
TRIO CHAUSSON
Philippe Talec, violin
Antoine Landowski, cello
Boris de Larochelambert, piano
Friday 7 October 2011
May 2012
Le Mans (France)
Théodore DUBOIS: Piano Trio no. 2
Cécile CHAMINADE: Piano Trio no. 2
70
71
French piano
Romain Descharmes, piano
Wednesday 30 November 2011 at
6.30 p.m.
Centre Culturel de la Sarthe – Abbaye
de L’Épau (France)
Théodore DUBOIS: Piano Sonata
Emmanuel CHABRIER: Pièces pittoresques
Maurice RAVEL: La Valse – Valses nobles et sentimentales
“Pièces pittoresques”
Masters and models
May 2012
Le Mans (France)
Léon BOËLLMANN: Cello Sonata
Charles KŒCHLIN: Pieces for cello and piano
Théodore DUBOIS: Pieces for cello and piano
Théodore DUBOIS: Cello Sonata
Fernand DE LA TOMBELLE: Andante expressivo
Gabriel FAURÉ: Élégie
César FRANCK: Cello Sonata
72
Maria Tomassi, soprano
Giulio Zappa, piano
Gary Hoffman, cello
David Seilig, piano
Marc Coppey, cello
François-Frédéric Guy, piano
TRIO PORTICI
Stéphane De May, piano
Damien Pardoen, violin
Luc Tooten, cello
May 2012
Le Mans (France)
Emmanuel CHABRIER, Théodore DUBOIS: piano pieces
Cello: La Belle Époque
Théodore DUBOIS: Promenade sentimentale
Alphonse DUVERNOY: Piano Trio in E minor
George PFEIFFER: Piano Trio no. 3
Emmanuel Strosser, piano
Romantic cello
“Alla tedesca…”
Thursday 3 May 2012 at 8 p.m.
Jules MASSENET: Le Cid (air, Chimène)
Giuseppe VERDI: Les Vêpres siciliennes (Boléro, d’Hélène)
Victor MASSÉ: Paul et Virginie (duet)
Giacomo MEYERBEER: Le Prophète (air, Fidès)
Ambroise THOMAS: Psyché (duet)
Victorin JONCIÈRES: Les Derniers Jours de Pompéi (air, Nydia)
Louis NIEDERMEYER: La Fronde (air, Hélène)
Orchestral piano
Carole Dubois and Olivier Godin, piano
Théodore DUBOIS: pieces for piano 4 hands
Adonis – Symphonie française – Un Momento d’allegrezza –
Suite villageoise
73
Paris, the Romantic hours
Cyrille Dubois, tenor
Philippe Huttenlocher, bass
Marie-Josèphe Jude and Anne Le Bozec, piano
Pierre Bleuse, Éric Lacrouts and Simon Milone, violins
Cécile Grassi, viola
Laurène Durantel, double bass
The “mélodie”, a chamber opera?
In the hierarchy of repertoires, the French mélodie stands
at the summit. Its fair assessment requires great understanding of poetry and appreciation of detail. Symbolist
thoughts or, at the other extreme, lines borrowed from
Ronsard or Villon, make it into a genre that is above all
literary. The art of a composer such as Théodore Dubois
enables us to reassess its progression and the stages in
its maturation, at the intersection of two radically different but closely related worlds: those of the romance
and of the mélodie itself. Born in 1837, Dubois could not
ignore the specificities of the romance that was performed in the salons. Having appeared in the late eighteenth century, it had become more theatrical during the
period of the July Monarchy. The romance was then a
strophic genre implying frequent repetition of the same
74
music. More lyrical in substance, supported by a piano
accompaniment that is more closely related to the text,
the French mélodie is first and foremost a literary genre.
It is often presented in cycles, which may be narrative
or more evocative. Dubois is a perfect representative of
the most “Romantic” period of the French mélodie – the
period that was unceremoniously swept aside by the
symbolism of Debussy, who regarded it as outdated and
superficial. Yet judging by Dubois’s literary choices, he
held this repertoire in particularly high esteem, readily
colouring it with genuine sadness or infectious joy.
t
Lisz
Thursday 30 June 2011 at 9 p.m.
Église Saint-Jean-Baptiste de
Rayssac, Albi (France)
2011
Théodore DUBOIS: Musiques sur l’eau
Richard STRAUSS: Das Schloß am Meer
Franz LISZT: Trois Sonnets de Pétrarque – Malédiction
Hector BERLIOZ: Le Spectre de la rose
Giovanni BOTTESINI: Grand Duo concertant
L’Armée des Romantiques
L’ARMÉE DES ROMANTIQUES
Magali Léger, soprano
Alain Buet, baritone
Alexis Kossenko, flute
Emmanuel Balssa, cello
Rémy Cardinale, piano
Théodore DUBOIS: mélodies
Andante cantabile for cello and piano
Andante appassionato for cello and piano
Suite sur des poèmes virgiliens for flute and piano
Gabriel FAURÉ: mélodies
Fantaisie for flute and piano
Sicilienne for cello and piano
Camille SAINT-SAËNS: mélodies
Romance for flute and piano
Allegro appassionato for cello and piano
Sunday 3 July 2011
Maladredie Saint-Lazare,
Beauvais (France)
Friday 22 July 2011 at 8 p.m.
Église, Simorre (France)
Sunday 24 July 2011 at 5 p.m.
Église, Tillac (France)
Tuesday 8 May 2012 at 8 p.m.
Sunday 20 May 2012
75
Romantic Europe
Cyrille Dubois, tenor
Tristan Raës, piano
Église, Vron (France)
Théodore DUBOIS: Musiques sur l’eau
Sergei RACHMANINOV: Six Mélodies
Robert SCHUMANN: Dichterliebe
Dubois and the “mélodie”
Carole Dubois, piano
Friday 26 August 2011 at 8.30 p.m.
Église Saint-Jacques, Reims (France)
Théodore DUBOIS: mélodies and piano pieces
“Musique sur l’eau… ”
Jean-François Rouchon, baritone
Billy Eidi, piano
Théodore DUBOIS: Daphnis (from Poèmes virgiliens)
Le Chevrier (from Poèmes virgiliens)
L'Allée solitaire – La Source enchantée (from Poèmes virgiliens)
Musique sur l’eau (excerpts)
Désiré-Emile INGHELBRECHT: Au Jardin de l’Infante (excerpts)
Florent SCHMITT: Musique sur l’eau
Jacques de LA PRESLE: Heures d’été (excerpts)
Charles KŒCHLIN: Accompagnement – Soir païen
Louis AUBERT: Silence – L’Âme errante
Gabriel FAURÉ: Arpège – Accompagnement – Soir
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April 2012
Auditorium, Nantes Conservatoire
(France)
May 2012
Monthodon (France)
May 2012
Fondazione Siotto, Cagliari (Italy)
September 2012
Festival de La Chaise-Dieu (France)
September 2012
Salle Varèse, Conservatoire national
supérieur de musique de Lyon
(France)
OPERA
and ballet
The tragédie lyrique and the ballet, born in the eighteenth century under Louis XIV, were specifically French
genres. This form of total theatre, involving poetry, music, dance, scenery, costumes, and machinery showing
an unprecedented degree of ingenuity, gradually evolved
over the years into the grand opera that was to be the
envy of Europe, admired by composers from Wagner to
Verdi. The first signs of Romanticism were present even
before the Revolution, in the works composed at that
time by Gluck and his contemporaries, among whom
Grétry was one of the most innovative, following in the
footsteps of the all too little-known Lemoyne, Fontenelle,
Catel and Gossec, whose works reflect the paradoxical
sensitivity of that period of change, torn between nostalgia for the great moments of the reign Louis XIV and the
cult of modernity and progress. Music whose ambitions
were already “Romantic” and whose truly unprecedented accents brought out the passions of the former Classical age in a completely new way. Italian musicians, who
had begun to arrive in Paris during the reign of Louis
XVI, stood at the forefront among operatic composers,
and it is to them that early Romanticism owes some of
its flavour and personality. The generation of Piccinni
and Sacchini introduced France to the international
style of that time, which Salieri transcended with the
original orchestral effects, strong pathos and drama
that so impressed the young Berlioz. A few years later,
under the Empire, Spontini created operas that were in
keeping with the prevailing taste of those years for monumentality and pomp. During the same period Cherubini became famous in France and far beyond, and the
young Beethoven chose him as a model. Having moved
to Paris, Rossini composed the crowning achievement of
his career, his last operatic work, Guillaume Tell (preceded by a spectacular Moïse et Pharaon), considered to
be one of the first French grand operas and taken as a
model by Auber (La Muette de Portici), then Donizetti
and later Verdi. Berlioz was a direct “descendant” of
Gluck and his contemporaries: as a young man he had
been deeply impressed by the works of Gluck, going so
far as to declare that Gluck was the first Romantic. He
was particularly excited too by the great interpreters of
that repertoire, from Sophie Arnould to Cornélie Falcon,
and including Caroline Branchu and Julie-Angélique
Scio, who embodied the characters created for them by
Gluck, Méhul, Cherubini and Spontini with a vocal virtuosity and heroism the likes of which had never been
heard in France before.
79
OPERA AND BALLET
Fromental HALÉVY
La Magicienne (1858)
Monday 11 July 2011 at 8 p.m.
Opéra Berlioz, Montpellier (France)
Maurice RAVEL (arranged by Jean-Frédéric Neuburger)
L’Heure espagnole
ORCHESTRE NATIONAL DE MONTPELLIER
CHŒUR DE RADIO FRANCE
Lawrence Foster, musical director
Nora Amsellem, Blanche
Marianne Crebassa, Mélusine
Frédéric Antoun, René
Marc Barrard, Stello
Jennifer Michel, Aloïs
Nicolas Cavallier, Comte de Poitou
Production Festival de Radio France et Montpellier
in partnership with Palazzetto Bru Zane – Centre
de musique romantique française
François Leroux, artistic director, stage director
Marc Claerbout, stage design
Pierre Martinez, costumes
Philippe Biros et Jeff Cohen, piano 4 hands and chorusmasters
Anna Destraël/Mariam Gegechkory, Concepcion
Ronan Debois/Mickaël Guedj, Ramiro
Johnny Esteban/David Guilardi, Gonzalve
Geoffroy Buffière/Arnaud Guillou, Inigo
Ronan Meyblum, Torquemada
Charles-Simon CATEL
Sémiramis (1802)
Monday 25 July 2011 at 8 p.m.
Coproduction Palazzetto Bru Zane – Centre de
musique romantique française and Festival de
Radio France et Montpellier
LE CONCERT SPIRITUEL
Maria Riccarda Wesseling, Sémiramis
Sarah Pagin, Azéma
José Ferrero, Arzace
Nicolas Courjal, Assur
Andrew Foster-Williams, Oroès
Louis-Ferdinand HÉROLD
La Belle au bois dormant (1829)
80
tier
Gau
2011
Wednesday 28 September 2011
at 8 p.m.
Théâtre musical, Besançon (France)
Production Festival de Besançon
Ambroise THOMAS
Françoise de Rimini (1882)
ORCHESTRE NATIONAL DE LORRAINE
CHORUS AND BALLET OF THE OPERA-THEATRE DE METZ
Jacques Mercier, musical director
Vincent Tordjman, staging and decors
Christelle Birot, costumes
Lucas Manganelli, choreography
Nicolas Boudier, lighting
Catherine Hunold, Francesca
Gilles Ragon, Paolo
Olivier Grand, Malatesta
Jérôme Varnier, Guido
Delphine Haidan, Ascanio
Eugénie Danglade, Virgile
Carlos Aguirre, Dante
Auditorium Maurice Ravel, LevalloisPerret (France)
Saturday 8 October 2011 at 8.30 p.m.
Théâtre du Centre municipal des
loisirs, Montfort L'Anaury (France)
Sunday 16 October 2011 at 11 a.m.
Chapelle du Méjean, Arles (France)
Production Académie de Villecroze
Friday 18, Sunday 20 and Tuesday 22
November 2011
Opéra-Théâtre de Metz (France)
Production Opéra-Théâtre de Metz
81
OPERA AND BALLET
Johann Christian BACH
Amadis de Gaule (1779)
COMPAGNIE DE DANSE LES CAVATINES
BALLET AND CHORUS OF THE SNG OPERA AND BALLET LJUBLJANA
Jérémie Rhorer, musical director
Marcel Bozonnet, staging
Antoine Fontaine, stage design and decors
Renato Bianchi, costumes
Dominique Bruguière, lighting
Natalie Van Parys, choreography
Hélène Guilmette, Oriane
Philippe Do, Amadis
Allyson McHardy, Arcabonne
Franco Pomponi, Arcalaüs
Julie Fuchs, Urgande
Claude DEBUSSY / Gabriele D'ANNUNZIO
Le Martyre de Saint Sébastien
ussy
Deb
VLAAMS RADIO KOOR
Chœur Symphonique Octopus
Michel Tabachnik, conductor
Jean-Philippe Clarac, Olivier Deloeuil, staging and images
Micha Lescot, Le Saint
Karen Vourc’h, La Mère
Eric Bougnon, Le Père
Blanche Konrad, La Bonne
Pauline Sabatier, Marie Kalinine, Les Jumeaux
82
2
201
Thursday 24, Saturday 26 and
Monday 28 November 2011 at 8 p.m.
Theatre, Ljubljana (Slovenia)
Saturday 10 and Monday 12
December 2011 at 8.30 p.m.
Opéra Royal du Château de Versailles
Monday 2, Wednesday 4, Friday 6
January 2012 at 8 p.m. and
Sunday 8 January 2012 at 3 p.m.
Delegate producer: SNG Opera and Ballet
Ljubljana (Slovenia)
Executive producer: Opéra Comique
Co-produced by the Centre de musique baroque
de Versailles – Palazzetto Bru Zane – Centre de
musique romantique française
Tuesday 31 January 2011 at 8 p.m.
Concert hall of the Cité de la
Musique, Paris (France)
Production Cité de la musique in partnership
with Palazzetto Bru Zane – Centre de musique
romantique française
Georges BIZET
Les Pêcheurs de perles (1863)
ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE
ACCENTUS
Leo Hussain, musical director
Yoshi Oïda, stage director
Daniela Kurz, choreography and staging
Tom Schenk, sets
Richard Hudson, costumes
Fabrice Kebourg, lighting
Sonya Yoncheva, Leïla
Dmitri Korchak, Nadir
André Heyboer, Zurga
Nicolas Testé, Nourabad
Gioachino ROSSINI
Guillaume Tell (1829)
CHORUS AND ORCHESTRA OF THE STAATSTHEATER NÜRNBERG
SUPERNUMERARIES OF THE STAATSTHEATER NÜRNBERG
Guido Johannes Rumstadt, musical director
Elisabeth Stöppler, stage director
Hermann Feuchter, stage design
Nicole Pleuler, costumes
Tarmo Vaas, chorusmaster
Sonja Westerbeck, drama coach
Nicolai Karnolsky, Gesler
NN, Rodolphe
Martin Berner/Jochen Kupfer, Guillaume Tell
NN, Walther Furst
Uwe Stickert, Arnold Melcthal
Vladislav Solodyagin, Melcthal
NN, Leuthold
Hrachuhi Bássenz/Leah Solodyagin, Mathilde de Habsbourg
Anna Lapkovskaja/Leila Pfister, Hedwige
Michaela Maria Mayer/Heidi Elisabeth Meier, Jemmy
Tilman Lichdi/Martin Nyvall, Ruodi
Monday 18, Wednesday 20, Friday 22,
Tuesday 26, Thursday 28 June 2012
at 8 p.m.
Sunday 24 June 2012 at 3 p.m.
Production Opéra Comique
Co-produced by the Opéra Royal de Wallonie, Liège The Israeli Opera, Tel Aviv
Associate co-producer Palazzetto Bru Zane –
Centre de musique romantique française
Saturday 3, Saturday 10, Monday 12,
Saturday 24 March,
Wednesday 4 April, Thursday 31 May,
Tuesday 26 June 2012 at 7.30 p.m.
Sunday 18 March and
Sunday 15 April 2012 at 3.30 p.m.
Opernhaus, Nüremberg (Germany)
Production Staatstheater Nürnberg in partnership
with Palazzetto Bru Zane – Centre de musique
83
OPERA AND BALLET
Daniel-François Esprit AUBER
La Muette de Portici (1828)
ORCHESTRE ET CHŒUR DU THÉÂTRE ROYAL DE LA MONNAIE
Patrick Davin, musical director
Emma Dante, stage director
Carmine Maringola, sets
Vanessa Sannino, costumes and sets
NN, lighting
Manuela Lo Sicco, choreography
Sandro Maria Campagna, fencing master
Elena Borgogni, Fenella
Maxim Mironov, Alphonse
Eglise Gutierrez, Elvire
NN, Masaniello
Franck Leguérinel, Pietro
NN, Borella
Jean Teitgen, Selva
Martial Defontaine, Lorenzo
84
tier
Gau
2011
Thursday 5, Saturday 7,
Wednesday 11 and
Friday 13 April 2012 at 8 p.m.
Monday 9 and Sunday 15 April 2012
at 3 p.m.
Production Opéra Comique
Coproduction Théâtre royal de la Monnaie
Associate co-producer Palazzetto Bru Zane –
SCIENTIFIC
ACTIVITIES
85
SYMPOSIA
JULY 2011
Conducting in the nineteenth century
(La Spezia, Italy)
AUGUST 2011
The fascination of “singularities”
in nineteenth-century French music
(La Côte-Saint-André, France)
SeptembER 2011
The sound of European music at the time of Liszt.
Music in the nineteenth century
(Briosco, Italy)
OctobER 2011
Théophile Gautier and the Second Empire
(Compiègne, France)
Notes on the Unity of Italy: opera,
Napoleon III and political identity
(Tours and Paris, France)
DEcembER 2011
Luigi Boccherini (1743-1805)
86
(Lucca, Italy)
JaNUARY 2012
Opera and cultural transfers
(1760-1800)
(Paris, France)
(Tours and Paris, France)
Music in Naples during the “French decade”
(1806-1815)
MarCH 2012
Rousseau’s Dictionary of Music
and its reception in Europe
(Paris, France)
APril 2012
The Paris Conservatoire under
the directorships of Thomas,
Dubois and Fauré (1871-1920)
(Paris, France)
(Paris, France)
“Grand opéra”: a genre and a model
JuNE 2012
Exoticism and opera
(Paris, France)
87
SCIENTIFIC ACTIVITIES | SYMPOSIA
JULY 2011
From Thursday 14 to Saturday 16 July 2011
Centro d’Arte Moderna e Contemporanea (La Spezia, Italy)
Scientific committee: Andrea Barizza (La Spezia);
Alexandre Dratwicki (Venice); Lorenzo Frassà (Lucca);
Roberto Illiano (Lucca); Fulvia Morabito (Lucca); Michela
Niccolai (Montréal); Massimiliano Sala (Pistoia)
In collaboration with the Società dei Concerti (La Spezia)
and the Centro Studi Opera Omnia Luigi Boccherini (Lucca)
AUGUST 2011
The fascination of “singularities”
in nineteenth-century French music
G
er
auti
2011
From Wednesday 24 to Saturday 27 August 2011
Musée Hector Berlioz, La Côte-Saint-André (France)
In collaboration with the Centre Interdisciplinaire Récits Cultures Langues
et Sociétés (University of Nice-Sophia-Antipolis), the Observatoire Musical
Français (Paris-Sorbonne), the Centre International de Recherches
Interdisciplinaires en Ethnomusicologie de la France, the Festival Berlioz
(La Côte-Saint-André) and the Isère General Council
88
With the constant demands of the Romantic movement for
more volume, dynamics and virtuosity, the nineteenth-century orchestra needed a conductor. Previously the batteur
de mesure – there to make the time-beat audible – had presided over the instruments of the Opéra, before the adoption
during the Classical period of the Italian practice of having
the first violin lead the ensemble. The exact identity of the
conductor, who became central to musical life in Europe,
was yet to be defined. Was he there simply to coordinate
the performance of a work technically, or was his role to
guarantee a musical policy (from repertoire to performance)? Benefiting from the experience accumulated by the
great pioneers – conductors-cum-virtuosos, such as Clementi, Paganini, Liszt, Spohr, or conductor-composers, such
as Weber, Berlioz, Mendelssohn, Charpentier, Mahler – his
status evolved in the course of the century. A better understanding of this profession enables the adoption of a different, more subtle, approach to the Romantic repertoire.
The aim of this symposium, involving musicology and
ethnomusicology, is to introduce a multidisciplinary reflection on the notion of “otherness” in nineteenth-century music. It will question the construction of that notion
as well as its historiography, its impact on a new, "erudite" form of musical composition, and the broadening
of new, multicultural musical horizons in the West. Two
fundamental issues will serve as a guide: firstly, why
Western composers have been so irresistibly attracted
to – and stunned by – “other” music; secondly, the reception of dominant musical and instrumental models,
sometimes foreign, by Europe’s various “popular” musical cultures.
Septembre 2011
The sound of European music at the time
of Liszt. Music in the nineteenth century
t
Lisz
2011
From Friday 30 September to Sunday 2 October 2011
Villa Medici Giulini, Briosco (Italy)
Scientific committee: Alexandre Dratwicki (Venice);
Nicolas Dufetel (Weimar-Jena / Angers); Lorenzo Frassà
(Lucca); Roberto Illiano (Lucca); Fulvia Morabito (Lucca);
Luca Sala (Paris / Poitiers); Massimiliano Sala (Pistoia)
In collaboration with the Centro Studi Opera Omnia Luigi Boccherini and Villa
Medici Giulini (Briosco)
OctobER 2011
Thursday 13 and Friday 14 October 2011
Palais impérial, Compiègne (France)
tier
Gau
2011
Scientific committee: Anne Geisler (Université d’Évry);
Martine Lavaud (Université Paris IV-Sorbonne); Françoise
Melmoux-Montaubin (Université Jules Verne, Amiens);
Corinne Saminadayar-Perrin (Université Montpellier III);
Marie-Ève Thérenty (Université Montpellier III); Paolo
Tortonese (Université Paris III)
In collaboration with the Association du bicentenaire Gautier and the Château
imperial, Compiègne
Franz Liszt – virtuoso pianist, composer, conductor,
teacher and traveller – was the epitome of the the musician who lived on a European scale. In the nineteenth
century, amazing progress in instrument making and
music publishing encouraged the circulation to the most
important artistic centres of the time (Paris, Vienna, London...) of both musicians and musical works. Although
national schools of music were then gradually emerging,
is it possible to identify a “European sound”, resulting
from musicians’ encounters with the aesthetics of the
countries they visited? This question will be answered
after an examination of playing techniques, changing
tastes and the details of musicians’ tours.
In 2011, for the bicentenary of the birth of Théophile Gautier, there will be national commemorations and a very
rich cultural programme, including seminars, talks,
exhibitions, performances, museum displays, concerts...
all of them initiatives supported by private or public
institutions, including the French Ministry of Culture.
These events will provide an opportunity to rediscover
the journalistic output of this writer, who was particularly active during the Second Empire. A body of literature that represents almost three thousand press articles, in the form of narrative and critical texts presented
in serial form or accounts of his travels. For forty years
Gautier was an excellent art critic and a well-informed
theatre, opera and ballet-goer: an invaluable witness for
contemporary historians of the stage and the Fine Arts
in Paris at that time.
89
OctobER 2011
Notes on the Unity of Italy: opera, Napoleon III
and political identity
From Wednesday 26 to Saturday 29 October 2011
Université François Rabelais (Tours) and Auditorium
Austerlitz, Musée de l'Armée (Invalides, Paris)
Scientific committee: Damien Colas (IRPMF) France;
Alessandro Di Profio (Université François-Rabelais /
IRPMF); Pierre Milza (Institut d’Études Politiques)
In collaboration with the Institut de recherche sur le patrimoine musical en
France (CNRS), the Université François Rabelais (Tours) and the Musée de
l'Armée (Invalides, Paris).
DEcembER 2011
From Thursday 1 to Saturday 3 December 2011
Palazzo Ducale, Lucca (Italy)
Scientific committee: Alexandre Dratwicki (Venice);
Lorenzo Frassà (Lucca); Roberto Illiano (Lucca); Fulvia
Morabito (Lucca); Rudolf Rasch (Utrecht); Luca Sala
(Paris/Poitiers); Massimiliano Sala (Pistoia); Christian
Speck (Koblenz)
In collaboration with Centro Studi Opera Omnia Luigi Boccherini (Lucca)
90
Italian unity, the 150th anniversary of which is celebrated in 2011 (1861-2011), marked the culmination of
a political project, which had previously been supported
by a cultural project that had paved the way for it, the
aim being to prove that over the centuries Italy had been
forged by its language and its artistic production. And
opera, through its impact on a socially and geographically diverse population, was one of the tools in the
building of unity. At the time when the peninsula was
still fragmented politically, the finest operatic works
circulated from theatre to theatre, cementing identities.
This symposium brings to a close a series of talks held at
the Italian Cultural Institute in Paris. It forms part of the
exhibition entitled “Napoleon III, the French, and Italian
Unity (1848-1870)”, organised by the Musée de l’Armée in
Paris.
Noticed in Vienna and at the Concert Spirituel in Paris,
employed in Madrid by Infante Don Luis of Spain (1769),
admired by King Friedrich Wilhelm II of Prussia, who appointed him composer of his Chamber (1786)... like many
Italians in the eighteenth and nineteenth centuries,
Luigi Boccherini sought confirmation of his early success in different parts of Europe. Permeable to Viennese
and Parisian musical influences, he was also a bearer
of the Italian musical tradition, and he played a part in
the renewal of Classical chamber music. The amazing
production of this great virtuoso cellist deserves to be
reassessed within the context of late eighteenth-century
European music: artistic interactions, instrument making, music publishing and the reception of his works by
his contemporaries.
JANUARY 2012
Opera and cultural transfers (1760-1800)
Thursday 19 and Friday 20 January 2012
Scientific committee: Alexandre Dratwicki (Palazzetto
Bru Zane) and Agnès Terrier (Opéra Comique)
In collaboration with the Opéra Comique
JANUARY 2012
Music in Naples during the “French decade”
(1806-1815)
From Thursday 26 to Saturday 28 January 2012
Université François Rabelais, Tours (France) and
Auditorium Austerlitz du Musée de l’Armée, Invalides,
Paris (France)
Scientific committee: Mariafederica Castaldo (Centro di
Musica Antica Pietà de’ Turchini); Rosanna Cioffi (Seconda
Università di Napoli); Damien Colas (IRPMF); Francesco
Cotticelli (Seconda Università di Napoli); Alessandro Di
Profio (Université François-Rabelais – IRPMF); Alexandre
Dratwicki (Palazzetto Bru Zane); Paologiovanni Maione
(Conservatorio D. Cimarosa, Avellino)
Opera production in France was in turn a factor of national identity and cultural influence. While institutions
attracted musicians from the rest of the continent, librettos and scores were exported, disseminating the French
model. Two angles of study intersect and complement
each other: the question of the mixed nature of European
styles, at the junction of Italian, Germanic and French
influences, and the establishment of a market economy
based on translation but also on adaptation to national
concerns often tinged with politics. This symposium
will discuss Paris’s role as the capital of opera at the end
of the Enlightenment and its relations with the major
European musical centres. It follows an from the symposium of April 2011 devoted to the 1800-1840 period.
Under Joseph Bonaparte, then Joachim Murat, the kingdom of Naples experienced, during what to historians
is known as the “French decade” (1806-1815), a policy of
reforms strongly inspired by the Parisian model. This
period favoured the acclimatisation of the French repertoire in the city and encouraged Italians to develop a
new sensitivity not only for the dance, but also for theatre acting. Sacred music and ceremonial music in Naples
were equally inspired by the French tradition. The first
part of this symposium will be devoted to a study of the
repertoire; the second part will explore the artistic and
political contexts with an interdisciplinary approach
calling upon historians, art historians, literary historians and philosophers.
In collaboration with the Institut de recherche sur le patrimoine musical en
France (CNRS), Université François Rabelais, Musée de l’Armée (Invalides,
Paris) and the Société française de musicologie
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MarCH 2012
Rousseau’s Dictionary of Music and its reception
in Europe
Thursday 29 and Friday 30 March 2012
Université Paris Ouest Nanterre and École Normale
Supérieure de Paris, Paris (France)
Scientific committee: Jean-Pierre Bartoli (Université
Paris-Sorbonne); Jacques Berchtold (Université de
Genève); Guillaume Bordry (Université Paris-Descartes);
Brenno Boccadoro (Université de Genève); Francis
Claudon (Université Paris 12 Créteil); Claude Dauphin
(Université du Québec à Montréal); Béatrice Didier (Ecole
Normale Supérieure); Emmanuel Reibel (Université
Paris Ouest Nanterre); Jeanne Roudet (Université ParisSorbonne); Jean-Paul Sermain (Université Paris 3)
In this year of the tercentenary of the birth of Jean-Jacques
Rousseau (1712-1778), this symposium aims to show that
his Dictionnaire de Musique is not just an eighteenthcentury musical lexicography, but that, more widely,
it questions transcultural and trans-artistic comparatism, musical historiography, the history of taste and
aesthetics. The symposium will pose the question of the
specificity of this dictionary compared to other, similar
or contemporary works, and look into the history of its
editions, translations, readings and uses, particularly in
the Romantic era. Finally, the reception of the Dictionnaire will be studied, and the image and status Rousseau gradually acquired through the work.
In collaboration with the Centre de littérature et poétique comparées
(Université de Paris Ouest Nanterre La Défense) and the École Normale
Supérieure, Paris
April 2012
Tuesday 3 and Wednesday 4 April 2012
tier
Gau
2011
JuNE 2012
Exoticism and opera
APril 2012
The Paris Conservatoire under the directorships of
Ambroise Thomas, Théodore Dubois and
Gabriel Fauré (1871-1920)
April 2012
Conservatoire national supérieur de musique et de danse
de Paris (Paris, France)
Scientific committee: Anne Bongrain (CNSMDP); Rémy
Campos (CNSMDP); Dominique Hausfater (CNSMDP);
Étienne Jardin (Palazzetto Bru Zane); Aurélien Poidevin
(Université de Rouen)
In collaboration with the Paris Conservatoire, CNSMDP
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Although it corresponds to the emergence of the Conservatoire as we know it today, the period covered by the
directorships of Ambroise Thomas, Théodore Dubois and
Gabriel Fauré is particularly inadequately known. Yet it
was then that the school’s international reputation was
confirmed, especially through the musicians trained
there, with Capet, Enesco, Cortot, Thibaud, Lubin, Long
and others playing a part in the worldwide reputation of
higher musical education in France. Hitherto neglected
in favour of study of the major contemporary aesthetic
issues that took centre stage at the Paris Conservatoire
(in particular the antagonism between academicism
and the avant-garde), the actual functioning of the establishment needs to be studied in order to assess its impact on the history of music.
Tuesday 19 and Wednesday 20 June 2012
Following the success on stage at the Académie Royale de
Musique of Auber’s La Muette de Portici (1828) and Rossini’s Guillaume Tell (1829), Europe was fired with enthusiasm for a spectacular genre that was both moving and
eloquent. From the tragédie lyrique of the First Empire
grand opera retained an inclination for the epic and for
immoderation, but it also introduced the more modern
sensibilities of Italian vocalità and the thrill of fiction.
From Rossini to Wagner and Verdi, composers followed
the lead of Parisian musicians in adapting historical
subjects to opera. This trend had repercussions on and
favoured the development of a heroic vocal style, instrument making and theatrical techniques as a whole. A
new operatic economy was established on a continental
scale.
Contemporaneous with the expansion of the great colonial empires, some operas, such as Félicien David’s
Lalla-Roukh, Lakmé by Léo Delibes, Massenet’s Le Roi de
Lahore and Bizet’s Les Pêcheurs de perles, heralded and
strengthened the vogue for exoticism in the arts in the
second half of the nineteenth century. In exoticism (and
its corollaries orientalism and regionalism), opera found
the means to renew (and even reinvent) itself. Fantasised
first of all, foreign art gradually began to be studied in
situ and imported, if not identically, at least with genuine concern for realism, visual or aural. Shortly before
the great world exhibitions, did such operas, based on
exotic subjects, still reflect Western society?
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VALORISATION
OF DOCUMENTARY
COLLECTIONS:
ARCHIVAL STORAGE, CATALOGUING
AND DIGITISATION
The Palazzetto Bru Zane encourages institutions holding documentary collections relating to music of the French
Romantic period to enhance those collections and facilitate access for researchers and musicians.
To that end, appropriate international partnerships have been set up with the aim of assisting in the work of
cataloguing and digitisation.
ACADÉMIE DE FRANCE À ROME – VILLA MEDICI (ROME, ITALY)
CITÉ DE LA MUSIQUE – MUSÉE DE LA MUSIQUE (PARIS, FRANCE)
CONSERVATOIRE DE MUSIQUE DE GENÈVE – HAUTE ÉCOLE DE MUSIQUE
(GENEVA, SWITZERLAND)
CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PARIS /
MÉDIATHÈQUE HECTOR BERLIOZ (PARIS, FRANCE)
INSTITUT THÉODORE GOUVY (HOMBOURG-HAUT, FRANCE)
PRIVATE ARCHIVES
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SCIENTIFIC ACTIVITIES | ValoriZation of documentary collections
ACADÉMIE DE FRANCE À ROME – VILLA MEDICI (ROME, ITALY)
Precious musical collections
In 2010-2011, a partnership between these two institutions led to the listing, cataloguing
and partial digitisation of the precious musical collections of the Villa Medici library (published scores and manuscripts), which will eventually enable a study of the culture of the
winners of the Prix de Rome staying at the Villa Medici in the nineteenth and twentieth
centuries.
Correspondence of Charles Gounod
www.villamedici.it
www.mediatheque.cnsmdp.fr
Almost three thousand letters written or received by Charles Gounod are preserved in the
Médiathèque (Media Library) Hector Berlioz of the Paris Conservatoire. In partnership with
the Palazzetto Bru Zane, the latter aims to digitise and publish some of that correspondence.
CITÉ DE LA MUSIQUE – MUSÉE DE LA MUSIQUE (PARIS, FRANCE)
INSTITUT THÉODORE GOUVY (HOMBOURG-HAUT, FRANCE)
The “Pleyel / Érard / Gaveau and Salle Pleyel” archives
“Théodore Gouvy” archives
www.cite-musique.fr
www.institut-theodore-gouvy.com
This collaboration between the Palazzetto Bru Zane and the Musée de la Musique centres on
the archiving, cataloguing and digitisation of the “Pleyel / Érard / Gaveau and Salle Pleyel”
Collection, consisting of documents dating from 1788 onwards. The archives contain registers of production and sale, as well as many plans of instruments; these provide us with an
essential account of the development of instrument making.
CONSERVATOIRE DE MUSIQUE DE GENÈVE – HAUTE ÉCOLE DE MUSIQUE (GENEVA, SWITZERLAND)
Orchestral materials of the Société symphonique
www.cmusge.ch
96
CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PARIS /
MÉDIATHÈQUE HECTOR BERLIOZ (PARIS, FRANCE)
The Geneva Conservatoire and the Palazzetto Bru Zane are working on a two-stage joint
research project involving detailed cataloguing of the Geneva collections of orchestral materials (carried out in 2010), then study of the collections from an applied musicological
standpoint.
In preparation for a festival devoted to Théodore Gouvy, the Palazzetto Bru Zane, the Institut
Théodore Gouvy and the Moselle General Council have come together to work on the publishing and documentation of the Théodore Gouvy archive collection, which is preserved at
Hombourg-Haut.
PRIVATE ARCHIVES
As part of its support for the valorisation of precious documentary collections, the Palazzetto Bru Zane is also engaged in different types of collaboration with private collections, particularly those of the descendants of a number of nineteenth-century composers: Théodore
Dubois, Lucien Durosoir, Gabriel Pierné, Maurice Emmanuel, Fernand de La Tombelle, etc. It
is also trustee of the Christine Dudych Music Collection.
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RESEARCH
THEMES
ON-GOING BIOGRAPHICAL PROJECTS
André-Ernest-Modeste Grétry (1741-1813)
Reception of the works of Boieldieu (1775-1834) in France and abroad
George Onslow (1784-1853)
Louis-Ferdinand Hérold (1791-1833)
Hector Berlioz (1803-1869)
Charles Gounod (1818-1893)
Camille Saint-Saëns (1835-1921)
Théodore Dubois (1837-1924)
Fernand de La Tombelle (1854-1928)
Gustave Charpentier (1860-1956)
Maurice Emmanuel (1862-1938)
Gabriel Pierné (1863-1937)
Reynaldo Hahn (1874-1947)
Lucien Durosoir (1878-1955)
Jean Cras (1879-1932)
ON-GOING THEMATIC PROJECTS
Orchestral materials: from document to practice
Répertoire des Programmes de Concert en France (RPCF)
The Prix de Rome for composition (1803-1968)
Opera in France from the Enlightenment to the age of Romanticism (1770-1830)
The Italians in Paris
Guitar music in France in the early nineteenth century
The staging manuals for operas premièred in Paris between 1830 and 1930
The visual aspect of French opera
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99
SCIENTIFIC ACTIVITIES | RESEARCH THEMES | On-going biographical projects
André-Ernest-Modeste Grétry (1741-1813)
Known principally for his opéras-comiques, which include Zémire et Azor and Richard
Cœur-de-Lion, André-Ernest-Modeste Grétry tried his hand at many genres: religious works
and instrumental music (during his Italian period), the ballet héroïque (Céphale et Procris)
and the tragédie lyrique (Andromaque). Harpsichord teacher to Marie-Antoinette, a close
friend of Jean-Jacques Rousseau, this composer of the Ancien Régime was also recognised
and rewarded after 1795 by the Revolutionary powers.
Hector Berlioz (1803-1869)
Hector Berlioz stands out as the figurehead of Romantic music. In 1830 his Symphonie fantastique laid the foundations for a new conception of instrumental music, subsequently
enriched with overtures and programme symphonies (Harold en Italie, Roméo et Juliette,
Lélio). Since he was not a virtuoso instrumentalist, Berlioz had to diversify his activities
throughout his lifetime in order to live by his music: he was a conductor, concert organiser
and music critic, and also librarian at the Paris Conservatoire.
Reception of the works of Boieldieu (1775-1834) in France and abroad
Charles Gounod (1818-1893)
Winner of the Prix de Rome, a pupil of Halévy, Lesueur and Paer, Charles Gounod let his
passion for opera turn him aside from a religious vocation. The success of his productions
reached a peak in 1859 with Faust and in 1867 with Roméo et Juliette. Celebrated as a
national treasure, Gounod left his mark through his own particular brand of sensitivity
and an impressive catalogue that was dominated by vocal compositions, despite significant
forays into orchestral and chamber music.
Coordinator: Joann Élart
The reputation of François-Adrien Boieldieu, who had an exceptional career, is largely based
upon his operas: he was one of the major French opera composers of the nineteenth century,
with works such as Le Calife de Bagdad, Jean de Paris, La Fête du village voisin and La
Dame Blanche. We see through his career – he was an instrumentalist, composer, publisher, teacher, and an imaginative concert organiser – how the musician’s status changed
between the Classical and Romantic periods.
George Onslow (1784-1853)
George Onslow was an atypical figure, who would spend one part of his year bathing in
international glory in Paris and the other quietly composing in his native Auvergne; he had
an English name and French nationality, but his tastes were deeply Germanic and he was
regarded during his lifetime as “the French Beethoven”. He was one of the great figures of
French Romanticism. A past master in the art of the string quartet and quintet, the author
of several piano trios and sonatas, he also composed three operas.
Louis-Ferdinand Hérold (1791-1833)
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Coordinator: Alexandre Dratwicki
Louis-Ferdinand Hérold is one of the outstanding composers of early French Romanticism.
Although his name and that of some of his operatic works (Zampa and Le Pré aux clercs) are
still relatively well known today, no systematic study had been carried out to show the full
extent of his originality and importance. This work was begun in 2009 with the publication
of his correspondence from Italy, followed by the recording of several of his orchestral and
chamber works.
Camille Saint-Saëns (1835-1921)
Noticed in 1846 as a virtuoso pianist, Saint-Saëns was to be the major French composer of
the second half of the nineteenth century. Admired for his orchestral works with their very
Classical rigour and bold style (5 piano concertos, 5 symphonies, four symphonic poems), he
achieved international fame with his opera Samson et Delila (1877) and Henry VIII (1883).
He was also a music critic, organist of the church of La Madeleine, and one of the founders
of the Société nationale de musique.
Théodore Dubois (1837-1924)
Théodore Dubois experienced the great moments of French Romanticism, then the questioning of its validity and its disappearance in the first third of the twentieth century. He
was a composer, teacher and theorist; he was also maître de chapelle of the church of La
Madeleine, a member of the Institute and director of the Paris Conservatoire. His works and
writings present a complete and varied account of French musical life at the time of Ambroise Thomas, Camille Saint-Saëns and even Debussy.
101
SCIENTIFIC ACTIVITIES | RESEARCH THEMES | On-going biographical projects
Fernand de La Tombelle (1854-1928)
Coordinator: Jean-Christophe Branger
Fernand de La Tombelle, who studied with Théodore Dubois and was close to Camille SaintSaëns, left a considerable and very varied œuvre, eclectic and even atypical in style, which
deserves to be reconsidered not only for its own merits, but also as an illustration of a form
of social and artistic activity in France at the turning point between the nineteenth and
twentieth centuries. His music covers every genre. He was also a photographer, he drew
and painted, and he was a writer (theory, literature, and even works on astronomy and
cuisine).
Gustave Charpentier (1860-1956)
Coordinator: Michela Niccolai
Gustave Charpentier is one of the most original of late nineteenth-century French composers. His musical output, including Le Couronnement de la Muse (1897) and Louise (1900)
cannot be perfectly understood without analysing the social and political context in which
it was written. His dramatic works express the sociological ideals that found another outlet
in his “social project”, which saw the founding in 1901 of the Chambre Syndicale des Artistes
Musiciens de Paris and in 1902 the Conservatoire populaire de Mimi Pinson (to provide free
musical tuition for young working women in Paris).
Maurice Emmanuel (1862-1938)
Coordinator: Christophe Corbier
Taken together Maurice Emmanuel’s theoretical and artistic works provide a valuable account of French art in the years 1890 to 1940. Thanks to the Palazzetto Bru Zane, much of
his correspondence (most of which has never been seen in print before) is to be published. His
writings as a musicologist, hitherto scattered over many different publications or else preserved in his family archives, will also be gathered together for the first time and published
as a whole.
Gabriel Pierné (1863-1937)
Coordinator: Cyril Bongers
As a conductor, composer, virtuoso pianist, organist and member of the Académie des
Beaux-Arts, Gabriel Pierné was undoubtedly one of the key personalities in French music
during the first third of the twentieth century, showing in his work as a whole a fascinating
compromise between academic tradition and the most progressive advances in the art. The
time has now come to rediscover the many facets of this endearing figure, in order to shed
new light on that period.
Reynaldo Hahn (1874-1947)
Coordinator: Philippe Blay
The time has come to see Reynaldo Hahn as more than just the author of Ciboulette and delightful mélodies, and as a man who moved in brilliant society circles. Stage works (operas,
operettas, musical comedies) and mélodies were the two main branches of his activity, but
other genres are also well represented. We need too to take into account every facet of his
life: he was also a writer and music critic, a public speaker, a singer in the Parisian salons,
a conductor and a theatre director.
Lucien Durosoir (1878-1955)
Until 1914 he was a successful virtuoso violinist; after 1918 he was a composer who lived
withdrawn from the world, and for a long time he was unknown simply because he refused
to have his works published. But Lucien Durosoir is now being revived through the publication of the 41 opus numbers he composed between 1919 and 1937. The main mission of the
Palazzetto’s project is to draw up an inventory and make scientific use of the very rich
documentary collection that is preserved in his family archives.
Jean Cras (1879-1932)
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Coordinator: Georgie and Luc Durosoir
Coordinator: Stéphane Topakian
Throughout his brilliant career in the French navy, Jean Cras devoted his spare time to composition, leaving an œuvre that is important both in its variety and in its quality, although
he has now been more or less forgotten. After presenting a volume devoted to his chamber
music (Piano Trio, Cello Sonata, Largo for cello) on the Timpani label in 2008, the Palazzetto
Bru Zane has prepared several of his manuscripts for publication and, in collaboration with
Symétrie, has presented the correspondence between Jean Cras and Henri Duparc.
103
SCIENTIFIC ACTIVITIES | RESEARCH THEMES | On-going THematic projects
Orchestral materials: from document to practice
Coordinator: Rémy Campos
The Geneva Conservatoire and the Palazzetto Bru Zane are working on a two-stage joint
research project. The first stage involves detailed cataloguing of the Geneva collections of orchestral materials dating from the closing years of the eighteenth century to the beginning
of the twentieth century. In the second stage those same collections will be studied from an
applied musicological standpoint: colloquia and study days will be followed by the publication of works on the musical practices of that period.
Répertoire des Programmes de Concert en France (RPCF)
Coordinator: Patrick Taïeb
The primary aim of the RPCF, launched in 2000 and bringing together a forty-strong team
of musicologists, is to publish all the programmes of concerts given in France between 1700
and 1914. Each volume of the RPCF is devoted to a particular place and period, e.g. “Paris
1773-1848”. Eleven such programmes (including the one just mentioned) are financed by the
Agence nationale de la recherche and supported by the University of Rouen.
Following the publication in 2008 by Symétrie and the Palazzetto Bru Zane of Jean
Mongrédien’s impressive volume devoted to Le Théâtre-Italien de Paris (1801-1831), the
Centre de musique romantique française continues its research on the subject of
cultural transfers between Paris and Italy through the opera houses. See the database:
www.theatre-italien.fr. The publication of scores is now under way (Italian arias by
Hérold, Benoist, Halévy and others), and several recordings of rare pieces are planned.
Guitar music in France in the early nineteenth century
Coordinator: Pascal Valois
The body of works for guitar published in Paris during the first half of the nineteenth century is extremely rich. Interest in the instrument in Paris was so keen that the word “guitaromanie” (guitar mania) was coined to describe it. A whole generation of French-born
composers-guitarists, now almost forgotten, worked alongside foreign guitarists. The time
has come to re-evaluate this heritage and make a selection of representative pieces widely
available through the publication of a modern edition.
The Prix de Rome for composition (1803-1968)
The staging manuals for operas premièred in Paris between 1830 and 1930
The Prix de Rome for composition, which earned its winners a stay in Italy, had not yet been
the subject of an exhaustive study. The Palazzetto Bru Zane will be publishing the first musicological survey on the subject, Le Concours du prix de Rome de musique (1803-1968), consisting
of forty articles by musicologists from different countries, coordinated by Julia Lu and Alexandre Dratwicki. An anthology of cantatas written for the Prix de Rome is also being published,
and a series of CD-books is being produced in partnership with the record label Glossa.
Opera in France from the Enlightenment to the age of Romanticism (1770-1830)
104
The Italians in Paris
Coordinator: Benoît Dratwicki
Little is known about the transitional period between the tragédie lyrique of Rameau and
the grand opéra of Meyerbeer. Yet the same style, forms and genres appear in the French
operatic works of Gluck, Cherubini, Catel, Spontini and others: clearly there was real continuity. The aim of this research project is to gain a better understanding of the genesis of
Romanticism and the evolution of vocal, instrumental, choreographic and stage techniques
during that period.
Coordinators: Michela Niccolai, Pierre Sérié and Rémy Campos
The publication – with annotations and illustrations – of a series of stage manuals for important works in the French operatic repertoire, from Auber to Debussy and Ravel, will provide researchers and practitioners alike with a very useful tool. This patrimonialisation of
the visual aspect of opera between 1830 and 1930 is an integral part of the works concerned,
their history and their reception, but it may also be a source of inspiration for new, contemporary artistic elaborations. Knowing how works were originally staged can be both
enlightening and inspiring.
The visual aspect of French opera
Coordinator: Pierre Sérié
In recent years, in archives and museum collections in Paris, researchers have brought to
light a huge amount of material providing us with precious information on the visual aspect
of the stage works (including operas) presented at France’s national theatres. Those items –
drawings or models of sets, sketches of costumes – have been listed and identified (authors,
the works for which they were intended) and now the time has come to study them from an
artistic point of view and to re-establish the pluridisciplinary dimension of French opera.
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PUBLICATIONS
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PUBLICATIONS | BOOKS
Biographies, letters, essays,
collective works, proceedings
of the symposia, nineteenthcentury writings or
dictionaries, give the floor in
turn to actors and witnesses
of the artistic life of that time
and to their commentators of
today.
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HENRI DUPARC
Lettres à Jean Cras,
« le fils de mon âme »
Presented and annotated by
Stéphane Topakian
30 € | 181 pages
Aspects de l’opéra français
de Meyerbeer à Honegger
Work coordinated by JeanChristophe Branger and
Vincent Giroud
32 € | 248 pages
Lettres
de compositeurs à Camille
Saint-Saëns
Eurydice Jousse and Yves
Gérard
49 € | 688 pages
Henri Rabaud
Correspondance et écrits
de jeunesse (1889-1907)
Michel Rabaud
49 € | 504 pages
Théodore Dubois
Souvenirs de ma vie
Christine Collette-Kléo
30 € | 248 pages
Hérold en Italie
Work coordinated by
Alexandre Dratwicki
45 € | 456 pages
Jules Stockhausen
Itinéraire d’un chanteur
à travers vingt années
de correspondance,
1844-1864
Letters collected by
Geneviève Honegger 45 € | 433 pages
George Onslow,
un romantique entre
France et Allemagne
Work coordinated by
Viviane Niaux
75 € | 408 pages
Le Concours du prix
de Rome de musique
(1803-1968)
Work coordinated by Julia Lu
and Alexandre Dratwicki
Forthcoming
Castil-Blaze
Histoire de
l’opéra-comique
Presented by Alexandre
Dratwicki and Patrick Taïeb
Forthcoming “Les colloques
de l’Opéra Comique”
Each season the Opéra
Comique and the Palazzetto
Bru Zane organise several
symposia, the results of which
are published in this series.
L’invention des genres lyriques
français et leur redécouverte
au XIXe siècle
Work coordinated by Agnès
Terrier and Alexandre Dratwicki
80 € | 560 pages
Le surnaturel sur la scène
lyrique : du merveilleux
baroque au fantastique
romantique
Work coordinated by Agnès
Terrier and Alexandre Dratwicki
Forthcoming
Dictionaries
In order to provide
researchers and music lovers
with reference tools, the
Palazzetto Bru Zane, with
Symétrie, is developing a
series of anthological works
and dictionaries with a
bearing on the French
Romantic repertoire and its
institutions.
Nicole Wild
Dictionnaire
des théâtres parisiens
Forthcoming
Jean Mongrédien
Le Théâtre-Italien
de Paris 1801-1831
Chronology and documents
640 € | 5 384 pages
Paperbacks
In order to make the results
of musicological research
accessible to all, the Palazzetto
Bru Zane, with Symétrie,
is bringing out a series of
paperbacks, enabling people to
acquire, at a very reasonable
price, the seminal texts of
musical Romanticism, as well
as essays of various types.
Database by Symétrie
(full-text search):
www.theatre-italien.fr
Pierre Brunel
Aimer Chopin
10,20 € | 265 pages
Hector Berlioz
Mémoires
Introduction by
Alban Ramaut
14,80 € | 705 pages
Hector Berlioz
Les Grotesques
de la musique
Introduction by
Gérard Condé
Forthcoming
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PUBLICATIONS | scores
The catalogue of scores published by the Palazzetto Bru
Zane, with Symétrie, aims to represent the different
genres practised during the Romantic period, with
priority given to hitherto unpublished works. Full
scores and orchestral materials are available for hire on
request.
Albert-Auguste Androt
Alcyone (1803)
Cantata for soprano and orchestra
Ernest Boulanger
Achille (1835)
Cantata for tenor and orchestra
Johann Christian Bach
Amadis de Gaule (1779)
Tragédie lyrique for soloists, chorus and orchestra
Guillaume Bouteiller
Héro et Léandre (1806)
François Bazin
Solo for trombone and string quintet (1866)
Louis-Ange Carpentras
Overture to Iphigénie en Aulide by Gluck arranged for
guitar (1822)
Sonate brillante op. 1 for guitar (1815)
Henri-Montant Berton
Le Concert interrompu (1802)
Air (Cécile), “Quel rusceletto…”, with violin, cello and
concerted piano
Prosper Bigot
Fantaisie on the air “Soyez sensible…” from Les Mystères d’Isis and Rondo Op. 3 for guitar (1822)
Georges Bizet
David (1856)
Cantata for soprano, tenor, bass and orchestra
François-Adrien Boieldieu
Ma tante Aurore ou Le Roman impromptu (1803)
Overture
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Charles-Simon Catel
Les Bayadères (1810)
Air (Laméa), “Sans détourner les yeux…”
Sémiramis (1802)
Joseph Charlot
Chœur de Bayadères (1850)
or mixed choir and orchestra
Emma et Eginhard (1850)
Gustave Charpentier
Didon (1887)
Cantata for soprano, tenor, baritone and orchestra
La Fête des Myrtes (1887)
For mixed choir and orchestra
Luigi Cherubini
Médée (1797)
Overture – Prelude to Act III – Air (Médée), “Du trouble
affreux qui me dévore…” – Air (Néris), “Ah, nos peines
seront communes…”
Les Deux Journées ou Le Porteur d’eau (1800)
Overture
Ode à l’hymen (1810)
For solo tenor, chorus and orchestra
Ave Maria (1816)
Motet for soprano or tenor and orchestra
O Salutaris (1826)
Motet for bass and orchestra
Nicolas-Marie Dalayrac
Azémia ou Les Sauvages (1787)
Overture
Renaud d’Ast (1787)
Overture
Félicien David
Nonet no. 2 for brass (1839)
String Quartet no. 4 (1874)
François Devienne
Les Comédiens ambulants (1798)
Overture
Paul Dukas
Velléda (1888)
Christoph Willibald Gluck
Iphigénie en Tauride (1779)
Air (Iphigénie), “Je t’implore et je tremble…”
Orphée et Eurydice (1774)
Overture – Air de Furie – Air (Eurydice), “Fortune ennemie…” – Menuet des Ombres heureuses
François-Joseph Gossec
Symphony op. 6 no. 3 (circa 1762) – Thésée (1781)
Air (Médée), “Ah! Faut-il me venger…”
Charles Gounod
Concerto for pedal piano and orchestra (1883)
Polyeucte (1878)
Duet (Pauline and Sévère),“Pauline! Dieux!... Sévère!”
Solo for trombone and piano (1858)
Symphony no. 1 (1855)
Fromental Halévy
Charles VI (1843)
Duet (Odette and Charles VI), “Eh! bien,
puisque les morts…”
Herminie (1819)
Louis-Ferdinand Hérold
Piano Concerto no. 2 (1811) – Piano Concerto no. 3
(1813) – Piano Concerto no. 4 (1813) – La Belle au bois
dormant (1829)
Orchestral suite
Vincent d’Indy
Symphonie italienne (1872)
Nicolas Isouard
Lulli et Quinault ou Le Déjeuner impossible (1812)
Overture
Hyacinthe Jadin
Piano Concerto no. 2 (1796)
Victorin Joncières
Symphonie “romantique” (1870)
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PUBLICATIONS | scores
Rodolphe Kreutzer
Astyanax (1801)
Air (Cassandre), “Ah! ces perfides Grecs…”
La Mort d’Abel (1810)
Air (Adam), “L’aurore a dissipé les ombres…”
Paul et Virginie (1791)
Overture
Simon Leduc
Symphony in E flat major (1777)
Jean-François Le Sueur
La Caverne ou Le Repentir (1793)
Air (Don Juan), “Dans ce péril certain…”
112
Max d’Ollone
Frédégonde (1897)
Cantata for soprano, mezzo-soprano, tenor
and orchestra
Les Villes maudites (1899)
Symphonic poem for mixed choir and orchestra
Sous-bois (1897)
George Onslow
Le Colporteur ou L’Enfant du bûcheron (1826)
Overture
String Quartet op. 50 (1833)
Symphony no. 1 (1831)
Camille Saint-Saëns
Chœur de Sylphes (1852)
For solo soprano and mezzo-soprano, mixed choir and
orchestra
Henry VIII (1883)
Duet (Catherine of Aragon and Henry VIII),“Ô mon maître
et seigneur...”
Ivanhoé (1864)
Cantata for mezzo-soprano, tenor, baritone and orchestra
Le Retour de Virginie (1852)
Cantate pour soprano, ténor, basse et orchestre
Ode (1864)
The complete works are based on the research that has
been carried out internationally over the past forty
years or so by musicologists of five different nationalities, who have studied the musical and literary sources,
as well as correspondence, iconography and historical
Antonio Salieri
recordings. This long awaited new edition, a monumenLes Danaïdes (1784)
tal work, will reveal many of Fauré’s compositions and
Overture – Scene and air (Hypermnestre), “Où suis-je ? Où favour the international circulation of music that is
vais-je ?” – Air (Hypermnestre), “Par les larmes, dont votre constantly arousing fresh enthusiasm worldwide as it
fille...”
is discovered.
Jules Massenet
Ève (1875)
Prelude, scene and duet (Eve and Adam), “Homme, tu
n’es plus seul...”
Le Mage (1891)
Air (Varedha) and duet (Varedha and Amrou), “Ah! Comme ils déchirent mon cœur...”
Ferdinando Paer
Le Maître de chapelle ou Le Souper imprévu (1821)
Air (Barnabé), “Ah! Quel bonheur…”
Étienne-Nicolas Méhul
Ariodant (1799)
Air (Ina), “Quelle fureur barbare!”
Stratonice (1792)
Overture
Symphonie no. 1 (1808-1809)
François-André Danican Philidor
Ernelinde, princesse de Norvège (1767)
Air (Ricimer), “Transports, tourments jaloux…”
Auguste Mermet
Roland à Roncevaux (1864)
Air (Alde), “Prête à te fuir…”
Gioachino Rossini
Le Siège de Corinthe (1826)
Air (Pamyra), “L’heure fatale approche…”
Ambroise Thomas
Le Caïd (1849)
Recitative and duet (Fatma and Michel), “Ciel! Vous chantiez à l’instant fort bien...”
Pierre-Alexandre Monsigny
Le Déserteur (1769)
Air (Alexis), “Il m’eût été si doux de t’embrasser…”
Antonio Sacchini
Arvire et Evelina (1788)
Overture
Dardanus (1784)
Overture
Johann Christoph Vogel
Démophon (1789)
Overture
La Toison d’or (1786)
Émile Paladilhe
Patrie ! (1886)
Duet (Dolorès and Rysoor), “Ah! Maintenant à moi...”
Henri Reber
Symphonie no. 4
Bärenreiter
The complete works of Gabriel Fauré
This edition of the complete works of Gabriel Fauré (18451924) brings together for the first time all the scores that
were issued by different publishers during the composer’s lifetime. The texts have been established from all
the original sources now known: manuscripts, corrected
proofs, original editions, corrected copies, and so on.
Gaspare Spontini
La Vestale (1807)
Aria (Julia), “Toi que j’implore avec effroi…”
Prelude, scene and air from La Grande Vestale, “L’amour
est un monstre barbare”
Olympie (1819)
Scene and duet (Olympie and Statira), “Ô déplorable
mère...”
Directed by Jean-Michel Nectoux
Committee: Jean-Pierre Bartoli, Carlo Caballero, Tom
Gordon, Denis Herlin, Peter Jost, Richard Langham Smith,
Hugh Macdonald, Roger Nichols, Robert Orledge, James
William Sobaskie, Robin C. Tait
Edited by Nicolas Southon
In collaboration with Musica Gallica, the Singer-Polignac Foundation, the
Bibliothèque nationale de France and the Palazzetto Bru Zane – Centre de
musique romantique française
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PUBLICATIONS | RECORDINGS
Each year the Palazzetto Bru Zane works in partnership
with different labels involved in the rediscovery of rare
works of French Romanticism for the making and release
of new recordings.
Naïve www.naive.fr
Timpani www.timpani-records.com
George Onslow
String Quartets
op. 54, 55 and 56
Quatuor Diotima
2010
César Franck
Music for piano and orchestra
Olivier Latry, harmonium
Stéphane Denève, conductor
Royal Scottish National
Orchestra
2010
Jean Cras
Trio, Cello Sonata
and Largo for cello
Philippe Koch, violin
Aleksandr Khramouchin, cello
Alain Jacquon, piano
2009
Gabriel Fauré
Mélodies
Yann Beuron, tenor
Billy Eidi, piano
2009
Massenet, Cherubini,
Halévy, Berlioz, Wormser,
Bizet
“Ne me refuse pas…”
Airs d'opéras français
Marie-Nicole Lemieux, contralto
Fabien Gabel, conductor
Orchestre national de France
Chausson, Duparc, Gounod...
Mélodies
Stéphane Degout, baritone
Hélène Lucas, piano
2010
Marie-Joseph-Alexandre
Déodat
de Séverac
Le Cœur du moulin
Jean-Yves Ossonce, conductor
Maîtrise & Chœurs de
l’Opéra de Tours Orchestre
symphonique Région Centre –
Tours
2010
Hyacinthe Jadin
String Quartets op. 1 no. 1,
op. 3 no. 1 and op. 3 no. 3
Quatuor Cambini – Paris
2010
Félicien David
Quatuors à cordes
Forthcoming
Paul Le Flem
Aucassin et Nicolette
Nicolas Chalvin, conductor
Orchestre des Pays de Savoie
Solistes de Lyon
Forthcoming
George Onslow
Works for wind instruments
(Quintet, Sextet, Septet, Nonet)
Ensemble Initium
Ensemble Contraste
2011
2010
Luigi Cherubini
Lodoïska
Le Cercle de l’Harmonie
Forthcoming
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115
XXI-21 www.xxi-21.com
LIGIA
Théodore Dubois
Chansons de Marjolie,
Odelettes antiques & autres
mélodies
Anne Saint-Denis, soprano
Olivier Godin, piano
2010
Théodore Dubois
Transcriptions for piano
4 hands
Carole Dubois & Olivier Godin,
piano
2011
Théodore Dubois
Remember
Music for violin and piano
Stéphanie-Marie Degand,
violin
2009
George Onslow
Guise ou les États de Blois
Opéra-comique in 3 acts,
arr. by the author as a quartet
Le Salon Romantique
2009
Théodore Dubois
Motets
Les Filles de l’Île
Les Chantres musiciens
Forthcoming
Fernand de La Tombelle
Les Sept Paroles du Christ
Les Filles de l’Île
Les Chantres musiciens
2011
Alexis de Castillon
de Saint-Victor
Piano Quintet and Quartet
Quatuor Satie
2010
Fernand de La Tombelle
Quatuor – Trio
Quatuor Satie
Forthcoming
LaBorie www.ebl-laborie.com
Louis Aubert & Gabriel
Fauré
Violin Sonatas
Anne Robert, violin
Maneli Pirzadeh, piano
Forthcoming
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Émile Pessard
25 piano pieces
Olivier Godin, piano
Forthcoming
Alexandre-PierreFrançois Boëly
Chamber music
Quatuor Mosaïques,
Ensemble Baroque de
Limoges, Christophe Coin,
Éric Lebrun 2009
Félicien David
Le Souvenir / Les 4 Saisons
2 volumes
Christophe Coin, conductor
Ensemble Baroque de Limoges
Quatuor Mosaïques
2011
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Zig-Zag Territoires www.zigzag-territoires.com
Ernest Chausson
Poème de l’Amour et de la
Mer – Chanson perpétuelle –
String Quartet op. 35
Salomé Haller, soprano
Nicolas Krüger, piano
Quatuor Manfred
2010
Mirare www.mirare.fr
Gabriel Fauré
La Bonne Chanson –
Piano Quartet
Karine Deshayes, soprano
Ensemble Contraste
2011
Louis-Ferdinand Hérold
Piano Concertos nos. 2, 3 and 4
Jean-Frédéric Neuburger, piano
Sinfonia Varsovia
2011
Musicales Actes Sud
www.actes-sud.fr/musicales-actes-sud
Mel Bonis, Maurice Ravel
Trios
Trio George Sand
Forthcoming
Francis Poulenc, Claude Debussy,
Gabriel Fauré
Impressions françaises
Music for flute
Juliette Hurel, flute; Hélène Couvert,
piano; Arnaud Thorette, viola; Christine
Icart, harp; Florence Darel, narrator
Forthcoming
Alpha www.alpha-prod.com
Gustave Nadaud
La Bouche et l’Oreille
Daniel Isoir, piano
Arnaud Marzorati, baritone
Alexandre Chabod, clarinet
Stéphanie Paulet, violin
Paul Carlioz, cello
2010
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Organ Symphony and
Piano Concerto no. 4
Jean-François Heisser, piano
Les Siècles
2010
Aeolus www.aeolus-music.com
Revolutionary and
counter-Revolutionary songs
Les Lunaisiens
Arnaud Marzorati
& Jean-François Novelli,
conductor
Forthcoming
César Franck
Complete vocal works with organ
2 volumes
Solistes de Lyon – Bernard Tétu
Bernard Tétu, conductor
Maîtrise et jeune chœur du centre de la
Voix Rhône-Alpes
Maîtrise du CPM de Genève
2007 and 2009
Théodore Dubois
Musique concertante
Jean-François Heisser, piano
Marc Coppey, cello
Orchestre Poitou-Charentes
Forthcoming
Glossa www.glossamusic.com
André-Ernest-Modeste Grétry
Andromaque – CD Book (2 CD)
Les Chantres du Centre de Musique
Baroque de Versailles
Le Concert Spirituel
2010
BNL www.codaex.com
Théodore Dubois
et Édouard Lalo
Violin Concerto and
Symphonie espagnole
Frédéric Pélassy, violin
Zbynek Müller, conductor
Orchestre national philharmonique
de Kosice – Slovaquie
2011
119
Ricercar www.ricercar.be
André-Ernest-Modeste
Grétry
Céphale & Procris
Guy van Waas, conductor
Chœur de chambre de Namur
Les Agrémens
2010
Cypres www.cypres-records.com
César Franck
Music for piano and orchestra
Cédric Tiberghien, piano
Orchestre Philharmonique Royal
de Liège
2011
Europ&Art www.europe-art.com
Max d’Ollone
Piano Studies – Piano Trio
Gérard Poulet, violin
Dominique de Williencourt, cello
Dimitris Saroglou, piano
Forthcoming
120
Eloquentia www.eloquentia.fr/F/label.htm
Complete cello works
Luigi Piovano, cello
Nazzareno Carusi, piano
Piero Bellugi, conductor
Orchestra del Teatro Marrucino
2011
Pavian Records www.old-skool.ru
Brilliant Classics www.brilliantclassics.com
Jules Massenet, Émile Paladilhe,
Jacques-Fromental Halévy…
French operatic duets
Hjördis Thébault, soprano
Pierre-Yves Pruvot, baritone
Didier Talpain, conductor
Solamente Naturali
Forthcoming
EMI www.emiclassics.com
Gioachino Rossini
Guillaume Tell
Antonio Pappano, conductor
Orchestra dell’Accademia
Nazionale di Santa Cecilia
Forthcoming
Virgin www.emiclassics.com
Kreutzer, Mermet, Gossec, Verdi,
Massenet, Meyerbeer…
French operatic arias
Véronique Gens, soprano
Christophe Rousset, conductor
Les Talens Lyriques
2011
HYPERION www.hyperion-records.co.uk
Luigi Cherubini
Arias & Overtures
from Florence to Paris
Maria Grazia Schiavo, soprano
Carlo Ipata, conductor
Auser Musici
Forthcoming
Anima Records www.entremuses.com/anima
Georges Pfeiffer, Théodore
Dubois, Ernest Chausson
Piano Trios
Trio Arcadis
2011
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Brussels Philharmonic
L’Orchestre des Flandres
Chœur de la Radio flamande
Glossa
Palazzetto Bru Zane
Centre de musique
Claude Debussy
and the Prix de Rome
(2009)
(2011)
Gustave Charpentier
(2011)
Music for the Prix de Rome
“Every possible criticism has been made of the cantata, a
false genre, and of this competition, which has little significance,” wrote Florent Schmitt. The prestige of the Prix de
Rome, awarded annually from 1803 to 1968, made it a highly coveted prize. Taxed with academicism, denigrated and
even derided, it became synonymous with the bad taste of a
“decadent Romanticism”. Yet it has to be admitted that the
Prix de Rome constantly maintained its reputation; it never
went stale, never succumbed to the banality of constant
repetition, never failed to take into account pedagogical,
political and aesthetic considerations. The time has come
for this repertoire, which is all too often criticised (although
it is almost unknown!), to be given its rightful place in the
history of French music, and for the myths and beliefs regarding this very famous prize awarded by the Académie
des Beaux-Arts to be set straight. After all, Berlioz, Gounod, Bizet, Massenet, Debussy and Dutilleux were among
its winners. As part of the revival of the French Romantic repertoire that is now under way, the Palazzetto Bru
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Zane – Centre de musique romantique française decided to
launch a vast project devoted to the cantatas written for
the Prix de Rome competition and the compositions that
were sent from Rome by the winners. This involves, on the
one hand, the publication of musical scores and musicological works, in collaboration with the publishers Symétrie,
and, on the other hand, recordings, in collaboration with
Glossa, the Brussels Philharmonic – The Orchestra of Flanders (formerly the Vlaams Radio Orkest) and the Flemish
Radio Choir (Vlaams Radio Koor). The first in this series of
CD-books (released in autumn 2009) is devoted to Claude
Debussy. Camille Saint-Saëns is the subject of the second
volume (winter 2011). Saint-Saëns did not win the prize,
but he nevertheless composed some extremely interesting
works for the competition: two choruses and two cantatas
that hitherto had never been recorded. In October 2011, a
volume devoted to Gustave Charpentier will enable us to
hear the complete versions of Didon, La Fête des Myrtes,
Impressions d’Italie and La Vie du Poète.
TEACHING
PROJECTS,
COMPETITIONS
AND CAREER ASSISTANCE
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TEACHING PROJECTS, COMPETITIONS AND CAREER ASSISTANCE
CONCOURS INTERNATIONAL DE MUSIQUE DE CHAMBRE DE LYON
FRUITS OF THIS PARTNERSHIP…
PARIS INTERNATIONAL OPERA COMPETITION
FRUITS OF THIS PARTNERSHIP…
The Lyon International Chamber Music Competition, founded in 2004, has
chosen to follow the development of the careers of young chamber musicians.
Six disciplines – piano trio (violin, cello, piano); brass quintet; voice and piano (French and German art songs); duo violin-piano; wind quintet; string
quartet – were chosen for the importance of their respective repertoires. The
Lyon competition, which has been a member of the World Federation of International Music Competitions (WFIMC) since 2006, receives candidates from
all over the world and attracts judges of great repute. It associates various
concert organisations in its activities: Bayer Season Leverkusen, Germany;
Berlioz Festival, La Côte-Saint-André; Fondation Royaumont, Paris; Musée en
Musique, Grenoble; Auditorium du Louvre; France Musique; Banff Center for
the Arts, Canada; Palazzetto Bru Zane, Venice; Festival Radio France-Montpellier, and others. A competition is a momentous event in a young artist’s life. It
involves a long period of preparation. In order to contribute effectively to the
development of the repertoire, the Lyon International Chamber Music Competition decided to set each year contemporary works and ones that are rarely
included in the usual concert repertoires. Since 2009, collaboration with the
Palazzetto Bru Zane has accompanied and extended this approach, with the
working-out of a list of works by French Romantic composers to be set in the
competition, and reception of the winners for one or more concerts at the
Palazzetto.
For the 2011 edition of the Lyon
International Chamber Music
Competition, devoted to the piano
trio, the Palazzetto Bru Zane
presented a prize for the best
interpretation of one of the set
pieces: Romantic trios by Georges
Pfeiffer, Cécile Chaminade and
Alphonse Duvernoy. The artists
chosen are also invited to give
a performance in Venice during
the 2011- 2012 season, as part of
the festival Le salon romantique.
Performances of the same
programme will later be given on
tour.
The first edition of the biennial Paris International Opera Competition was
held at the Théâtre des Champs-Élysées from 15 to 17 October 2010. The competition spotlights nineteenth-century French opera, which is why the Palazzetto Bru Zane – Centre de musique romantique française wished to be
associated with its initiative through the presentation of a Special Prize. The
aim of the competition is to discover talented young singers who are about to
embark on their careers, and to launch them on the international scene, with
the support of a jury composed of directors of major European opera houses.
The Special Prize rewards vocal qualities, but also acting abilities and stage
presence. The competition invites young singers from all over the world to
show their skills in the French repertoire.
As well as awarding a Special Prize,
the Palazzetto Bru Zane will be
inviting the winner, Julie Fuchs,
to give a concert in Venice. The
programme, devoted to the French
operatic repertoire, will include
both rare and well-known pieces.
This concert, given on 8 October
2011, will be part of the inaugural
festival Virtuosity. It will then be
presented at other venues through
the Palazzetto’s partnership
network.
www.cioperaparis.com
www.cimcl.fr
124
125
Concours international de piano d’Orléans
FRUITS OF THIS PARTNERSHIP...
QuatuorS à Bordeaux
The Association “Orléans Concours International” (OCI) was founded in 1989
to create and run a piano competition centred on the twentieth- and twentyfirst-century repertoires and aiming to reveal one or more artists each year,
selected by a highly qualified panel of judges. The repertoire (from 1900 to
the present day) includes the great schools of the early twentieth century as
well as new works. With the aid of the OCI, the winners are required to pay
tribute to the different types of music in a spirit of tolerance and openness, by
giving as many concerts and master classes as possible. Besides the prestigious concerts and invitations to appear at the great French festivals (Metz, La
Roque d’Anthéron, Acanthe, etc.), following each edition of the competition,
the winners appear on tour in South America, Asia and the United States.
The winner of the first prize also records a CD under professional conditions
(most recently, Le Temps Recréé with Florence Cioccolani, including works by
Carter, Boulez, Mantovani, Matalon and Boucourechliev; and works dedicated
to Enesco, played by Christopher Falzone). The first competition was held in
1994; since then it has revealed talents such as Hideki Nagano, Fabio Grasso,
Toros Can, Winston Choi, Francesco Tristano Schlime, Wilhelm Latchoumia,
Florence Cioccolani and Christopher Falzone. The Association also organises
the “Brin d’Herbe” junior competition, and a regional tour for the winners.
The Palazzetto Bru Zane will
present a prize for the best
performance of a work chosen by
the candidates from the following
list of set pieces: Théodore Dubois
(Les Heures or Poèmes alpestres,
excerpts), Jean-Jules Roger-Ducasse
(Rythmes and Sonorités), Paul
Dukas (La Plainte au loin du Faune
or Hommage à Debussy), Déodat de
Séverac (Cerdaña or En Languedoc,
excerpts), Guy Ropartz (Musique
au jardin or Nocturnes), Gabriel
Pierné (Trois Pièces formant suite
de concert or Étude de concert),
Florent Schmitt (Pan au fond
des blés lunaires s’accouda). The
prizewinners will be invited
to appear in Venice, during the
Palazzetto’s 2014-2015 season. The
concert will also be taken on tour.
The Association Quatuors à Bordeaux aims to promote chamber music, and
in particular the string quartet – a rich musical form in an exceptional
repertoire. Thus every three years it holds an International String Quartet
Competition (member of the World Federation of International Music Competitions), which since 1999 has taken over from the prestigious Évian competition and is considered one of the most important quartet competitions
in the world. In the interests of harmonisation within Europe, the Bordeaux
Competition alternates with those of London and Reggio Emilia. A competition was thus held in 2010 (10–16 May, Grand Théâtre, Bordeaux), and the
next one will be in 2013. In the intervening years the association organises
a festival, the “Rencontres européennes de Musique de Chambre”, to promote
winners of the Bordeaux and other competitions. It also proposes a String
Quartet Academy, in which a few ensembles are given the opportunity to
follow a master class with teachers of world renown. The City of Bordeaux,
which has hosted this event since 1999, provides part of the financing; the
rest coming from private patrons, including some of the famous wine châteaux of the area (Petrus, Cheval Blanc, Yquem, Haut Brion, Lafite Rothschild,
Mouton Rothschild) and large companies wishing to support this excellent
event. The association, whose board chairman is Mr. Alain Pichon, is directed
by Bernard Lummeaux et Alain Meunier.
At the next competition (2013), the
Palazzetto Bru Zane will reward
the best performance of a French
Romantic quartet chosen from a
list of set pieces. The prize winners
will be invited to appear in Venice
in the course of the Palazzetto’s
2014-2015 season. The concert
will also be given during a tour
organised by the Palazzetto. From
the 2011-2012 season, the Palazzetto
and Quatuors à Bordeaux will
be co-organising various master
classes, as well as each presenting
the Quatuor Raphaël, winner of the
Bordeaux competition in 2010, in
a programme including pieces by
Théodore Dubois.
www.oci-piano.com
126
www.quatuorabordeaux.com
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Haute École de musique de Genève et de Lausanne (HEM):
WAGNER EN FRANÇAIS
In 1897 Die Meistersinger von Nürnberg by Richard Wagner received its Paris
première, sung in French at the Palais Garnier. In the unanimous opinion of
critics and public alike, the production surpassed that of Bayreuth. This opera was presented many times between 1897 and the First World War. Today
no one remembers the Paris première of Wagner's only comedy, but the Paris
Opéra is one of the few theatres in the world that preserves the memory of
its performances within its own walls. Indeed, in the collections of the Paris
Opéra Library and Museum, many documents are devoted to the 1897 version
of Die Meistersinger, thus making it possible to revive it in its entirety. The
reconstruction of the first scene of Act III invites us to view and listen to this
famous opera in a different way, performed by students and graduates of the
Geneva and Lausanne HEM in its original staging, with the original sets and
costumes, and in the French version by Alfred Ernst (1897).
www.cmusge.ch - www.hemu-cl.ch
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Jeune Orchestre atlantique
The rich collections of the Library
and Museum of the Paris Opéra
enable the reconstruction of
performances as they were given
more than a century ago. The
Wagner in Paris project will
present the first scene from Act III of
Richard Wagner’s Die Meistersinger
von Nürnberg in the staging of the
1897 Paris première, i.e. with the
sets and costumes that were used
at the Palais Garnier. Students of
the Geneva and Lausanne HEM will
sing the score in French, as was
customary at that time.
Created in 1996 on the initiative of La Chapelle Royale, the Centre d’Études
Supérieures de Musique et de Danse de Poitou-Charentes and the Abbaye aux
Dames at Saintes, the Jeune Orchestre atlantique comes together for orchestral or chamber sessions. It appears regularly at the Saintes Festival, conducted by Philippe Herreweghe and guest conductors including Sigiswald Kuijken, Jos van Immerseel, Marc Minkowski, David Stern, Christophe Rousset
and others, but also elsewhere in France and in Europe. These sessions enable
young musicians nearing the end of their studies or already at the beginning of their professional careers to gain experience in performance of the
Classical and Romantic repertoires on period instruments. The instructors,
all members of the Orchestre des Champs-Elysées and other orchestras specialising in historical performance, teach at the major French and European
conservatoires and offer instrumentalists a specific interpretative approach.
The Jeune Orchestre atlantique, which includes young musicians from all
over the world, takes part in many varied projects (operas, symphonic works,
chamber music). Since 2009 it has taken part in actions of the Palazzetto
Bru Zane – Centre de musique romantique française. This season it will be
present for a training session with the conductor David Stern.
March 2012
Théâtre de La Chaux-de-Fonds
(Switzerland)
Friday 30 and Saturday 31 March 2012
Amphithéâtre Bastille, Paris (France)
STUDENTS OF THE GENEVA
AND LAUSANNE HEM
Sunday 11 December 2011 at 5 p.m.
Théâtre L’Équinoxe,
Châteauroux (France)
Monday 12 December 2011 at 8.30 p.m.
Théâtre des Quatre-Saisons,
Gradignan (France)
Tuesday 13 December 2011 at 8.30 p.m.
“France / Germany / Italy”
JEUNE ORCHESTRE ATLANTIQUE
David Stern, conductor
Daria Fadeeva, piano
GLUCK, HÉROLD, CHERUBINI
www.abbayeauxdames.org
129
Jeunes Talents
Académie musicale de Villecroze
Founded in 1998, Jeunes Talents organises 150 concerts a year between September and June during the season, and in July for its European Festival. The
concerts are given in famous buildings belonging to the national heritage
– every Saturday at the Hôtel de Soubise, home of the French National Archives, in the heart of the Marais district; two Wednesdays a month in the
Colbert Auditorium of the Institut National d’Histoire de l’Art (INHA); once a
month at the Musée-Promenade de Marly-le-Roi (Louveciennes); also once a
month at the Mairie of the ninth arrondissement in Paris – but also in several hospitals of the Assistance publique – Hôpitaux de Paris. Jeunes Talents
is guided in its actions by five important themes: the future (presentation of
young musicians, winners of the competition and future international soloists); teaching and introduction to classical music (organising talks, free
open rehearsals, "awareness days" for children, and so on); diversity (varied
programmes, including contemporary and traditional music); Europe (inviting students of the great European music schools to meet young musicians
trained in France); solidarity towards new audiences (availability of lowprice seats, free entrance for children under the age of twelve, beneficiaries of
"Cultures du Cœur" and our partners’ employees – not to mention the many
concerts with free admission!).
Thursday 15 September 2011 Hôpital Sainte-Périne, Paris (France)
Sunday 2 October 2011 Musée-Promenade Marly-le-Roi,
Louveciennes (France)
Saturday 14 January 2012
Archives nationales,
Hôtel de Soubise, Paris (France)
The Académie musicale de Villecroze supports and encourages talented
young artists in a unique location in the heart of Provence designed for the
exchange and transmission of knowledge and art. Its founder, Anne Gruner
Schlumberger, opened the Academy in October 1989 with the ambition of
making it into “a buzzing hive of music”. On her death in 1993, she was succeeded by Anne Postel-Vinay, her granddaughter. A dozen master classes are
held each year, as well as composition and musicology workshops. These activities take place from February to November: for ten days, twelve to twenty
young talents from all over the world come to work with eminent teachers
in an environment conducive to exchanges and the sharing of music. The
Academy attaches great importance to helping these young people (through
concerts, CD recordings) to launch their careers.
Auditorium Maurice Ravel,
Levallois-Perret (France)
Théâtre du Centre municipal des
loisirs, Montfort L’Amaury (France)
www.jeunes-talents.org
Héloïse Luzzati, cello
Constance Luzzati, harp
VIERNE, FAURÉ, ONSLOW,
MASSENET
www.academie-villecroze.com
François Leroux, artistic director and
stage director
Maurice RAVEL: L’Heure espagnole
(chamber version arranged
by Jean-Frédéric Neuburger)
In collaboration with Isis Production Spectacles
Saturday 10 March 2012
Archives nationales,
Hôtel de Soubise, Paris (France)
Estelle Béréau, soprano
Charlotte Bonneu, piano
DEBUSSY, RAVEL, CHAUSSON, HAHN
130
131
American Guild of Organists – The New York City
Chapter - Yale Institute of Sacred Music
Master class “French vocal church music and its accompaniment (18501914)”
Vocal church music of the second half of the nineteenth century is still little
known. Only a few pieces – Gounod’s Ave Maria, Panis angelicus by César
Franck and the Fauré Requiem, for example – are regularly heard in concert or are sung during church services, yet dozens of works of great interest
remain to be discovered. This master class for American musicians makes
available the latest musicological research, as well as practical experience
accumulated over many years of working on this repertoire. It will explore
several avenues. First of all, the use of information contained in the original
scores: the first editions contain a wealth of information on the original scoring for three voices (children’s choir, tenors and basses), phrasing, tempos,
and so on. Moreover, the question of the forces used at the time merits further
study in the light of information found in church records (number of singers,
use of the church choir and additional instruments such as the harp, cello or
double bass). Knowledge of keyboard instruments used in the second half of
the nineteenth century (choir organ, harmonium, etc.) gives us a better understanding of the accompaniment of vocal music before the motu proprio of
1903. Finally, the first sound recordings (made between 1900 and 1930) shed
light on the interpretation of sacred music, and also on the pronunciation of
Latin.
www.nycago.org - www.yale.edu/ism
132
Friday 17, Saturday 18 and Friday 24
February 2012
The Cathedral of Saint Joseph,
Hartford (USA)
PARTNERSHIPS
HARTFORD SCHOLA CANTORUM
SOLI DEO GLORIA ORCHESTRA
Ezequiel Menéndez, organ
DUBOIS, SAINT-SAËNS, FRANCK
Monday 20 February 2012
Church of St Ignatius Loyola,
New York (USA)
Tuesday 21 February 2012 The Brick Presbyterian Church,
New York (USA)
Organists of the American
Guild of Organists
DUBOIS, GOUNOD, SAINT-SAËNS,
FRANCK
February 2012
Yale University
Master class with works by Gounod,
Franck, Batiste, Paladilhe, Dubois
and Saint-Saëns
Contributors: Diego Innocenzi and
Rémy Campos
133
PARTNeRshipS
GERMANY
Berliner Symphoniker www.berliner-symphoniker.de
27 April 2012, Pordenone (Italy)
Berliner Symphoniker / Shambadal / Prosseda
(Gounod, Franck, Carrara)
6 May 2012, Berlin
Berliner Symphoniker / Shambadal / Prosseda
(Gounod, Franck, Carrara)
Musikfest Bremen
www.musikfest-bremen.de
4 September 2011, Bremen
Le Cercle de l'Harmonie / Rhorer / Chauvin /
Chamayou
(Onslow, Reber, Liszt, Berlioz)
Staatstheater Nürnberg Festival Zomer Van Sint-Pieter www.zomer-van-sint-pieter.be
13 July 2012, Leuven
Grether / Reyes (Dubois, Debussy)
Vlaams Radio Koor www.vlaamsradiokoor.be
26 April 2012, Lier
Vlaams Radio Koor / Niquet (Dubois, Fauré,
Paladilhe, Saint-Saëns, Gounod)
27 April 2012, Merelbeke
Canada
Festival Classica Inc Association Guillaume Lekeu
www.festivalclassica.com
1 June 2012, Saint-Lambert
Les Filles de l'Île / Les Chantres musiciens /
Patenaude (Dubois)
Chœur de la Société philharmonique
du Nouveau Monde / Malgoire (Dubois)
Chœur de la Société philharmonique
du Nouveau Monde / Brousseau (Dubois)
7 July 2012, Verviers
Palais Montcalm
www.staatstheater-nuernberg.de
3 March - 26 June 2012, Nuremberg
Chor und Orkester des Staatstheater
Nürnberg / Rumstadt (Rossini)
BELGIUM
Brussels Philharmonic www.brusselsphilharmonic.be
3 May 2012, Brussels
Brussels Philharmonic / Niquet (Dubois,
Debussy, Pierné)
Festival Midis-Minimes www.midis-minimes.be
12 July 2012, Brussels
134
HET FESTIVAL
www.palaismontcalm.ca
28 May 2012 (Quebec)
Descharmes (Hérold, Schubert)
30 May 2012 (Quebec)
Salque / Lesage (Fauré, Saint-Saëns)
2 June 2012 (Quebec)
Lapointe (Fauré, Hahn, Duparc)
UNITED STATES OF AMERICA
AGO Hartford www.hartfordago.org
17, 18 and 24 February 2012, Hartford
Hartford Schola Cantorum / Soli Deo
Gloria Orchestra / Nenéndez / Innocenzi
(Dubois, Saint-Saëns, Franck)
AGO Manhattan www.hartfordago.org
20 and 21 February 2012, New York
Organists of the AGO (Dubois, Gounod, SaintSaëns, Franck)
France
Abbaye aux Dames –
Jeune Orchestre atlantique www.abbayeauxdames.org
11 December 2011, Châteauroux
Jeune Orchestre atlantique / Stern / Fadeeva
(Gluck, Hérold, Cherubini)
12 December 2011, Gradignan
13 December 2011, Saintes
Académie de Villecroze www.academie-villecroze.com
2 October 2011, Levallois-Perret
Leroux / Biros / Cohen (Ravel)
8 October 2011, Monfort-L’Amaury
16 October 2011, Arles
Arpèges en Gascogne
http://arpegesengascogne.online.fr
24 July 2011, Tillac
L'Armée des Romantiques (Dubois, Fauré,
Saint-Saëns)
Arsenal
www.arsenal-metz.fr
3 November 2011, Metz
Quatuor Alma Amadé / Delunsch / Jude
(Gouvy, Wagner, Chausson)
Centre culturel de l'Entente cordiale –
Château d'Hardelot www.chateau-hardelot.fr
June 2012, Hardelot
Quatuor Diotima (Dubois, d’Indy, Onslow)
Centre de Musique Baroque de Versailles
www.cmbv.fr
2 October 2011, Montpellier
Le Concert Spirituel / Niquet (Sacchini, Grétry)
4 October 2011, Versailles
Le Concert Spirituel / Niquet (Sacchini, Grétry)
15 November 2011, Versailles
I Virtuosi delle Muse / Molardi / Guyonnet /
Invernizzi (Rigel, Berton, Dalayrac, Gossec,
Devienne, Grétry)
Château Abbaye de Cassan www.chateau-cassan.com
24 August 2011, Cassan
Morozova (Chopin, Thalberg, Alkan)
Château de Versailles Spectacles www.chateauversailles.fr
10 and 12 December 2011, Versailles
Le Cercle de l’Harmonie / Rhorer (Bach)
135
PARTNeRships
Cité de la musique
En Terre Romantique
Festival Berlioz
Festival d'art lyrique d'Aix-en-Provence www.cite-musique.fr
13 November 2011, Paris
Lubimov (Dussek, Hérold, Beethoven, Schubert)
31 January 2012, Paris
Brussels Philharmonic / Vlaams Radio Koor /
Tabachnik (Debussy)
2 February 2012, Paris
Les Siècles / Roth / Planès (Debussy, Hurel)
Les Solistes des Siècles / Jude / Désert
(Dubois, Saint-Saëns)
www.cg57.fr
14 October 2011, Metz
Orchestre national de Lorraine / Mercier
(Guilmant, Franck, Saint-Saëns)
Les Talens Lyriques / Rousset / Gens (Cherubini,
Gossec, Kreutzer, Verdi, Méhul, Meyerbeer)
Quatuor Ardeo / Violi (Dubois, Pierné)
Le Cercle de l’Harmonie / Rhorer / Chauvin /
Chamayou (Onslow, Reber, Liszt, Berlioz)
15 November 2011, Metz
Orchestre national de chambre du Luxembourg /
Brochot (Thomas)
www.festivalberlioz.com
20 August 2011, La-Côte-Saint-André
Chamayou (Liszt)
La Chambre Philharmonique / Krivine /
Antonacci (Berlioz, Liszt)
Le Cercle de l'Harmonie / Rhorer / Chauvin /
Chamayou (Onslow, Reber, Liszt, Berlioz)
Muraro (Berlioz/Liszt)
Les Siècles / Roth (Liszt, Berlioz)
Les Solistes des Siècles / Les Cris de Paris /
Jourdain (Dubois)
21 August 2011, Penol
Violi (Godard, Krüger, Berlioz/Schall, Ravel,
Liszt)
Anima Eterna Brugge / Von Immerseel / Amoyel
(Saint-Saëns, Liszt, Berlioz)
24 August 2011, Le Grand-Lemps
Quintette à vent de Paris (Onslow, Reicha,
Taffanel, Bizet/Walter)
Orchestre National d'Île-de-France / Levi /
Rysanov (Wagner, Liszt, Berlioz)
Orchestre national de Lyon / Inbal / Castronovo
(Berlioz, Liszt)
Orchestre Européen Hector Berlioz / Chœur
Britten / Roth (Berlioz, Martini, Rouget de Lisle/
Berlioz)
Trio George Sand (Liszt, Bizet, Gounod,
Boulanger, Massenet, Berlioz)
www.festival-aix.com
20 July 2011, Aix-en-Provence
Concerts de l’Abbaye de Talloires
www.abbaye-talloires.com
21 April 2012, Talloires
Grether / Reyes (Pierné, Dubois, Fauré,
Bruneau, Debussy)
Conservatoire de Nantes www.conservatoire.nantes.fr
April 2012, Nantes
Eidi / Rouchon (Dubois, Schmitt, Kœchlin,
La Presle, Fauré, Aubert, Inghelbrecht)
Conservatoire national supérieur
de musique de Lyon
www.cnsmd-lyon.fr
September 2012, Lyon
Eidi / Rouchon (Dubois, Schmitt, Koechlin,
Contrepoints62
www.musiques62.fr
17 September 2011, Boulogne-sur-Mer
136
Festival Ars Terra www.arsterra.fr
2 June 2011, Dominois
Grelier / Camatte / Normant (Dubois, Tournier,
Saint-Saëns, Debussy)
22 July 2011, Rue
Convergences / Leleu (Dubois, Bizet, Gounod,
Saint-Saëns)
23 July 2011, Vron
Dubois / Raës (Dubois, Rachmaninov, Schumann)
24 July 2011, Valloires
Quatuor Raphaël (Dubois, Debussy)
26 July 2011, Argoules
Dobresco (Dubois, Saint-Saëns, Chopin, Debussy)
27 July 2011, Villers-sur-Authie
Bogdanovic / Gernay (Dubois, Debussy, Fauré,
Glière)
Quentin de Gromard / Akili (Dubois, Fauré,
Massenet, Saint-Saëns)
Hamon (Dubois, Chopin, Debussy)
Couteau (Boëly, Montgeroult, Alkan,
Saint-Saëns, Chopin)
Festival international de musique
de Besançon Franche-Chomté www.festival-besancon.com
28 September 2011, Besançon
Brussels Philharmonic / Niquet (Hérold)
28 September 2011, Salins-les-Bains
Les Solistes des Siècles / Jude / Désert (Dubois,
Saint-Saëns)
29 September 2011, Vesoul
Saint-Saëns)
Festival de Chambord www.chambord.org
23 July 2011, Chambord
Chamayou (Liszt)
26 July 2011, Chambord
Fuchs / Cemin (Rossini, Delibes, Boieldieu,
Meyerbeer, Lecocq)
Festival de L'Épau – Le Mans www.centre-culturel-de-la-sarthe.com
30 November 2011, L'Épau
Descharmes (Dubois, Ravel, Chabrier)
May 2012, Le Mans
Hoffman / Seilig (Dubois, Boëllmann, Kœchlin)
May 2012, Le Mans
Ensemble Initium (Enesco, Bonis, d’Indy, Caplet)
May 2012, Le Mans
Quatuor Cambini – Paris (Gounod, Gouvy, David)
May 2012, Le Mans
Trio Chausson (Dubois, Chaminade)
May 2012, Le Mans
Strosser (Dubois, Chabrier)
137
PARTNeRshipS
May 2012, Le Mans
Bernold / Ceysson / Roussev / Da Silva /
Demarquette (Dubois, Debussy, Cras)
24 May 2012, Le Mans
Orchestre Poitou-Charentes / Heisser /
Coppey (Dubois, Saint-Saëns, Ravel)
31 May 2012, La Ferté-Bernard
Les Siècles / Roth (Gounod)
31 May 2012, La Ferté-Bernard
Quatuor Debussy / Désert / Stroesser
(Saint-Saëns, Dubois)
2 June 2012, Le Mans
Quatuor Debussy / Désert / Stroesser
(Saint-Saëns, Dubois)
Festival de la Chaise-Dieu
www.chaise-dieu.com
September 2012, La Chaise-Dieu
Festival de la Vézère www.festival-vezere.com
15 May 2011, Voutezac
Festival de musique de Richelieu
www.festivalmusiquerichelieu.fr
3 August 2011, Richelieu
Festival Pro Musica – Pamiers
http://pamiers.promusica.free.fr
20 October 2011, Pamiers
La Sinfonie Bohémienne
(Catel, Blasius, Duvernoy)
Festival de Radio France et Montpellier Festival Jeunes Talents
L'Atelier d'Euterpe
www.festivalradiofrancemontpellier.com
11 July 2011, Montpellier
Orchestre national de Montpellier / Chœur
de Radio France / Foster (Halévy)
Jourdain (Dubois)
Le Concert Spirituel / Niquet (Catel)
www.jeunes-talents.org
15 September 2011, Paris
Luzzati / Luzzati (Vierne, Fauré, Onslow,
Massenet)
2 October 2011, Louveciennes
Massenet)
Béréau / Bonneu (Chausson,
Hahn, Debussy, Ravel)
Massenet)
10 March 2012, Paris
Béréau / Bonneu (Chausson, Hahn,
Debussy, Ravel)
www.atelier-euterpe.net
Tanimura / Droy / Villard (Joncières, Massé,
Donizetti, Gounod)
Descharmes (Hérold)
Quatuor Ardeo / Violi (Dubois, Hahn)
18 May 2012, Paris
Kalinine / Le Hérissier (Gounod, Chabrier,
Offenbach, Bizet, Thomas)
Festival de Saint-Riquier
www.festival-de-saint-riquier.fr
10 July 2011, Oneux
Quatuor Ardeo / Violi (Dubois, Hahn)
11 July 2011, Oneux
Papavrami / Leroy / Moubarak (Franck,
Debussy, Fauré)
11 July 2011, Saint-Riquier
Contraste / Léger / Deshayes / Sandre
(Ravel, Hahn, Debussy)
19 July 2011, Saint-Riquier
Orchestre de Picardie / Accentus / Equilbey
(Fauré, Debussy)
Festival de musique à Saint-Victor
http://saintvictor.chez.com
8 December 2011, Marseille
Saint-Saëns)
Festival des Forêts
www.festivaldesforets.fr
14 July 2012
Grether / Reyes (Pierné, Dubois, Fauré,
Bruneau, Debussy)
Festival de quatuor à cordes du Luberon
www.quatuors-luberon.org
20 August 2011, Gordes
Quatuor Manfred (Jadin, Franck)
138
Fondation Royaumont www.royaumont.com
8 May 2011, Royaumont
Ensemble Voix Célestes / Cortinovis (Dubois,
Dietsch, Saint-Saëns, Franck, Gounod, Fauré)
9 October 2011, Royaumont
La Courroie
www.lacourroie.org
14 October 2011, Entraigues-sur-la-Sorgue
20 October 2011, Entraigues-sur-la-Sorgue
Quintette à vent de Paris (Onslow, Reicha,
Taffanel, Bizet/Walter)
11 December 2011, Entraigues-sur-la-Sorgue
Trio AnPaPié (Jadin)
1 March 2012, Entraigues-sur-la-Sorgue
Christoyannis / Apostolopoulos (Reyer, Reber,
Lalo, Massenet, Saint-Saëns)
Grand Théâtre de Provence
Les Automnales
www.grandtheatre.fr
7 February 2012, Aix-en-Provence
Bernold / Caussé / Pierlot / Charlier
(Farrenc, Mozart, Beethoven)
9 February 2012, Aix-en-Provence
Jarrousky / Ducros (Hahn, Saint-Saëns,
Dupont, Chausson, Massenet, Fauré)
12 April 2012, Aix-en-Provence
Les Siècles / Roth / Planès (Dubois, Debussy)
Les Concerts de Saint-Sulpice
Institut Culturel Italien de Paris
www.iicparigi.esteri.it
6 October 2011, Paris
Bellucci (Liszt)
www.automnalesdecompiegne.com
13 October 2011, Compiègne
Violi (Godard, Krüger, Schall, Ravel, Liszt)
www.stsulpice.com
Innocenzi / Gonzalez Toro… (Dubois)
Les Concerts de Vollore
http://concertsdevollore.com
14 July 2011, Vollore
139
PARTNeRshipS
16 July 2011, Palladuc
Grether / Reyes (Dubois, Pierné, Fauré,
Bruneau, Debussy)
20 July 2011, Arconsat
30 July 2011, Escoutoux
Quatuor Satie / Martin (Dubois, La Tombelle,
Lenormand)
10 July 2012, Viscomtat (France)
Duo Atyopsis (Berlioz, Savari, Demersseman,
Caplet, Debussy)
Les Heures romantiques
Opéra Comique
Orchestre symphonique de Mulhouse
www.lillepianosfestival.fr
18 June 2011, Lille
Chamayou (Liszt)
18 June 2011, Lille
www.opera-comique.com
2 - 8 January 2012, Paris
Le Cercle de l’Harmonie / Rhorer (J. C. Bach)
Le Cercle de l’Harmonie / Rhorer /
Chauvin (Gossec, Rigel, Leduc, Bach, Haydn)
6 and 8 January 2012, Paris
5 - 15 April 2012, Paris
Orchestre et chœur du Théâtre royal
de la Monnaie / Davin (Auber)
10 April 2012, Paris
20 May 2012 , Paris
Les Siècles / Roth / Jude (Massenet)
18 - 28 June 2012, Paris
Orchestre Philharmonique de Radio France /
Accentus / Hussain (Bizet)
www.mulhouse.fr
28 and 29 October 2011, Mulhouse
Orchestre symphonique de Mulhouse / Klajner /
James (Dubois, Strauss, Brahms)
25 and 26 November 2011, Mulhouse
Orchestre symphonique de Mulhouse / Jones /
Sitkowetski (Dubois, Chausson, Sarasate,
Poulenc)
30 and 31 March 2012, Mulhouse
Orchestre symphonique de Mulhouse / Klajner /
Ceysson (Dubois, Ehrenfellner, Tchaïkovsky)
5 and 6 June 2012, Mulhouse
Solistes de l’Orchestre symphonique de
Mulhouse (Dubois)
Mélomania
www.mairie4.paris.fr
27 August 2011, Paris
www.heuresromantiques.org
May 2012, Monthodon
Moselle Arts Vivants
Les Musicales de Normandie
Musicales des Coteaux de Gimone www.musicales-normandie.com
22 July 2011, Le Havre
Chamayou (Liszt)
12 August 2011, Varengeville-sur-mer
Meyerbeer, Lecocq)
26 August 2011, Rouen
Jourdain (Dubois)
17 September 2011, Côte d’Albâtre
Trio Arcadis (Chausson, Gouvy, Dubois)
140
Lille Piano Festival
www.cg57.fr
4 December 2011, Rome
Quatuor Ardeo / Violi (Dubois, Pierné)
www.musicalesdescoteaux.fr
22 July 2011, Simorre
L'Armée des Romantiques (Dubois, Fauré,
Saint-Saëns)
Musiques en voûtes
www.quatuormanfred.com
27 and 28 August 2011
Quatuor Manfred (Jadin, Franck)
Musicales du Golfe du Morbihan
www.musicalesdugolfe.com
2 August 2011, Saint-Avé
Duo Atyopsis (Berlioz, Savari,
Demersseman, Caplet, Debussy)
Opéra de Lille
www.opera-lille.fr
15 February 2012
Meyerbeer, Lecocq, Gounod, Chabrier)
Opéra de Rouen Haute-Normandie
www.operaderouen.fr
9 February 2012, Rouen
Orchestre de l'Opéra de Rouen / Hermus /
Peters (Saint-Saëns, Fauré)
Orchestre de Picardie
www.orchestredepicardie.fr
4 November 2011, Compiègne
Orchestre de Picardie / van Beek / Neuburger
(Boieldieu, Gluck, Hérold, Bizet)
5 November 2011, Abbeville
Orchestre de Picardie / van Beek / Neuburger
(Boieldieu, Gluck, Hérold, Bizet)
Opéra-Théâtre de Metz
http://opera.metzmetropole.fr
15 November 2011 (Metz)
Orchestre national de chambre du Luxembourg /
Brochot (Thomas)
18, 20 and 22 November 2011 (Metz)
Orchestre national de Lorraine / Chœur et ballet
de l’Opéra-Théâtre de Metz / Mercier (Thomas)
Palais Fesch
www.musee-fesch.com
20 November 2011, Ajaccio
Bizjak / Bizjak (Chopin, Onslow, Ravel, Chabrier)
15 January 2012, Ajaccio
Kalinine / Le Hérissier (Gounod, Chabrier,
Offenbach, Bizet, Thomas)
20 May 2012, Ajaccio
L'Armée des Romantiques (Dubois, Berlioz,
Duparc, Fauré, Saint-Saëns)
141
PARTNeRshipS
Piano aux Jacobins
Solistes aux Serres d'Auteuil – Ars Mobilis
www.pianojacobins.com
30 May 2011, Xiamen (China)
3 June 2011, Qingdao (China)
4 June 2011, Beijing (China)
2 September 2011, Toulouse
Chamayou (Liszt)
Bacchetti (Diémer, Dubois, Cherubini,
Debussy, Chopin, Poulenc)
www.ars-mobilis.com
27 August 2011, Paris
Couteau (Boëly, Montgeroult, Alkan, SaintSaëns, Chopin)
Grether / Reyes (Dubois, Pierné, Fauré, Bruneau,
Debussy)
Quatuors à Bordeaux
www.quatuorabordeaux.com
12 May 2012, Bordeaux
Quatuor Raphaël (Dubois, Debussy)
Quatuors à Saint-Roch – Ars Mobilis
www.ars-mobilis.com
Salon de musique de Bardou
25 August 2011, Mons-la-Rivalle
Société des amis de la cathédrale de Reims
www.amis-cathedrale-reims.fr
26 August 2011, Reims
Dubois / Boucher (Dubois)
27 August 2011, Reims
Le Chœur international / Brousseau (Dubois)
142
Théâtre d'Arras
www.theatredarras.com
14 April 2012, Arras
Le Concert Spirituel / Niquet (Grétry, Sacchini)
Théâtre du Capitole
www.theatre-du-capitole.fr
13 October 2011, Toulouse
Théâtre Impérial de Compiègne
www.theatre-imperial.com
15 November 2011, Compiègne
5 February 2012, Compiègne
Meyerbeer, Lecocq)
Tons voisins
www.tonsvoisins.com
29 June 2011, Albi
Escale chromatique / Crowther (Dubois, Liszt,
Alkan, Saint-Saëns, Franck)
30 June 2011, Albi
Dubois / Huttenlocher / Jude / Le Bozec…
(Dubois, Liszt, Berlioz, Bottesini)
HUNGARY
Institut français of Budapest
www.inst-france.hu
30 March 2012, Budapest
MAV Symphony Orchestra / Pâris (Dukas,
Saint-Saëns, Debussy/Busser)
MAV Symphony Orchestra
www.mavzenekar.hu
30 March 2012, Budapest
MAV Symphony Orchestra / Pâris / Bogany
(Dukas, Saint-Saëns, Debussy/Busser)
Amici della Musica di Padova
www.amicimusicapadova.org
26 October 2011, Padua
Beaugiraud / Bensmail (Widerkehr, Jadin,
Saint-Saëns, Vierne, Kœchlin)
28 February 2012, Padua
Graffin / Désert (Debussy, Grieg)
Città di Venezia, Assessorato
alle Attività culturali, Teatro Toniolo
Amici della Musica di Mestre
ItalY
www.teatrotoniolo.info
www.amicidellamusicadimestre.it
23 October 2011, Mestre
Concerto Köln / Jakowicz (Méhul, Paganini,
Reber)
Académie de France in Rome
Conservatorio di Musica Benedetto Marcello
www.villamedici.it
6 October 2011, Rome
Trio Chausson (Dubois, Chaminade)
Velletaz / Borghi / Kalinine / Do / Pruvot / Jamin
(Hüe, d'Ollone, Hillemacher, Wormser)
Accademia Nazionale di Santa Cecilia
www.santacecilia.it
13 April 2012, Rome
Les Siècles / Roth / Planès (Dubois, Debussy)
Ambassade de France en Italie
www.ambafrance-it.org
16 November 2011, Florence
Bizjak / Bizjak (Chopin, Boëly, Jadin, Onslow)
Couteau (Boëly, Montgeroult, Alkan, Chopin)
www.conseve.net
18 October 2011, Venice
Octuor de France (Reicha, Blanc)
22 October 2011, Venice
Quintette à vent de Paris (Reicha, Onslow,
Taffanel, Bizet)
25 February 2012, Venice
Ensemble Initium (d’Indy, Caplet, Bonis, Enesco)
8 May 2012, Venice
L'Armée des Romantiques (Fauré, Dubois,
Saint-Saëns)
Emilia Romagna Festival
www.erfestival.org
13 September 2011, Forlì
Orchestra Toscanini / Latham- Koenig / Prosseda
(Gounod, Verdi, Carrara)
Fondazione Siotto
May 2012, Cagliari
143
PARTNeRship
Gallerie di Palazzo Leoni Montanari
www.palazzomontanari.com
19 February, Vicenza
Bizjak / Bizjak (Chopin, Onslow, Ravel, Chabrier)
26 February, Vicenza
Ensemble Initium (d’Indy, Caplet, Bonis, Enesco)
Istituto francese di Firenze
www.france-italia.it/FIRENZE
Bizjak / Bizjak (Chopin, Boëly, Jadin, Onslow)
RussIA
Festival des Palais – Institut français
de Saint-Pétersbourg
www.ifspb.com
1 June 2011, St. Petersburg
SLOVAKIA
Orchestre de la Philharmonie Slovaque
www.filharmonia.sk
16 and 17 February 2012, Bratislava
Orchestre de la Philharmonie Slovaque /
Pâris (Magnard, Saint-Saëns, Debussy)
Musica Cathedralis
14 May 2011, Bergamo
SLOVENIA
Teatro Comunale di Monfalcone
www.opera.si
24, 26 and 28 November 2011, Ljubljana
Le Cercle de l’Harmonie / Rhorer (Bach)
www.teatromonfalcone.it
28 October 2011, Monfalcone
Beaugiraud / Bensmail (Widerkehr, Jadin,
Saint-Saëns, Vierne, Kœchlin)
Tempo d’Orchestra
www.ocmantova.com
19 November 2011, Mantua
I Virtuosi delle Muse / Molardi (Rigel, Berton,
Dalayrac, Gossec, Devienne, Grétry)
Bologna Festival
www.bolognafestival.it
May 2012, Bologna
144
PRACTICAL
INFORMATION
SNG Opera in balet Ljubljana
SWITZERLAND
Lucerne Festival
www.lucernefestival.ch
14 August 2011, Lucerne
Ville de Genève
www.ville-geneve.ch
30 September 2012, Geneva
Maîtrise de Radio France / Innocenzi / Jeannin
(Dubois, Franck, Saint-Saëns)
145
GENERAL CALENDAR
MAY 2011
8 Ensemble Voix Célestes | Cortinovis p. 57
Abbaye, Royaumont (France)
Duomo, Bergamo (Italy)
15 Couteau p. 25
Château du Saillant de Voutezac (France)
30 Couteau p. 25
Xiamen (China)
JUne 2011
1 Quatuor Cambini – Paris p. 38
Marble Palace (Russian Museum), St. Petersburg (Russia)
2 Grelier | Camatte | Normant p. 63
Église, Dominois (France)
3 Couteau p. 25
Qingdao (China)
4 Couteau p. 25
Beijing (China)
10 Trio AnPaPié p. 38
Temple du Foyer de l’Âme, Paris (France)
18 Couteau p. 25
Lille (France)
18 Chamayou p. 25
Conservatoire de Lille (France)
29 Escale chromatique | Crowther p. 57
Sainte-Cécile Cathedral, Albi (France)
30 Dubois | Huttenlocher | Jude | Le Bozec… p. 73
Église Saint-Jean-Baptiste de Rayssac, Albi (France)
146
JULY 2011
3 L’Armée des Romantiques p. 73
Maladredie Saint-Lazare, Beauvais (France)
10 Quatuor Ardeo | Violi p. 67
11 Papavrami | Leroy | Moubarak p. 38
11 Contraste | Léger | Deshayes | Sandre p. 39
11 La Magicienne (1858) p. 78
14 Couteau p. 25
Château de Vollore (France)
14 Les Solistes de Siècles | Les Cris de Paris | Jourdain p. 58
14 Symposium p. 86
Centre d’art moderne et contemporain, La Spezia (Italy)
15 Symposium p. 86
16 Symposium p. 86
16 Grether | Reyes p. 67
Église, Palladuc (France)
19 Orchestre de Picardie | Accentus | Equilbey p. 58
20 Les Talens Lyriques | Rousset p. 33
Grand Théâtre de Provence, Aix-en-Provence (France)
Église, Arconsat (France)
22 Convergences | Leleu p. 63
Église, Rue (France)
22 Chamayou p. 25
Jardins suspendus, Le Havre (France)
Église, Simorre (France)
23 Chamayou p. 25
23 Dubois | Raës p. 74
Église, Vron (France)
Église, Tillac (France)
24 Quatuor Raphaël p. 63
Abbeye, Valloires (France)
25 Sémiramis (1802) p. 78
26 Fuchs | Cemin p. 33
26 Dobresco p. 68
Église, Argoules (France)
27 Quentin de Gromard | Akili p. 68
27 Bogdanovic | Gernay p. 68
28 Couteau p. 25
28 Hamon p. 69
30 Quatuor Satie | Martin p. 69
Église, Escoutoux (France)
AUGUST 2011
2 Duo Atyopsis p. 29
Chapelle Notre-Dame du Loc, Saint-Avé (France)
3 Morozova p. 26
Dôme de Richelieu (France)
10 Octuor de France p. 29
Chapelle Saint-Philibert, Trégunc (France)
Orangerie de Bagatelle, Paris (France)
Salon du Bois des Moutiers, Varengeville-sur-mer (France)
Kultur und Kongresszentrum, Lucerne (Switzerland)
18 La Chambre Philharmonique | Krivine p. 51
Château Louis XI, La-Côte-Saint-André (France)
18 Le Chœur International | Brousseau p. 58
Cathédrale, Montpellier (France)
19 Muraro p. 26
19 Le Cercle de l’Harmonie | Rhorer p. 19
20 Chamayou p. 25
20 Les Siècles | Roth p. 51
20 Quatuor Manfred p. 39
Théâtre des Terrasses, Gordes (France)
La Madeleine, Paris (France)
21 Violi p. 26
Chapelle de la fondation d’Auteuil, La-Côte-Saint-André
(France)
Cathédrale Notre-Dame, Paris (France)
24 Anima Eterna Brugge | Von Immerseel p. 19
24 Morozova p. 26
Château-Abbaye de Cassan (France)
24 Quintette à vent de Paris p. 30
24 Symposium p. 86
The fascination of “singularities” in nineteenth-century French music
Musée Hector Berlioz, La-Côte-Saint-André (France)
25 Morozova p. 26
Salon de musique de Bardou, Mons-la-Trivalle (France)
Cathédrale, Metz (France)
25 Symposium p. 86
26 Symposium p. 86
The fascination of “singularities” in nineteenth-century French music Musée Hector Berlioz, La-Côte-Saint-André (France)
147
26 Orchestre National d’Île-de-France | Levi p. 20
Abbatiale de Saint-Ouen, Rouen (France)
26 Dubois | Boucher p. 74
Église Saint-Jacques, Reims (France)
27 Symposium p. 86
27 Couteau p. 25
Les Serres d’Auteuil, Paris (France)
27 Morozova p. 26
Mairie du 4e arrondissement, Paris (France)
Théâtre des Terrasses, Gordes (France)
27 Orchestre national de Lyon | Inbal p. 51
Cathédrale, Reims (France)
Musiques en voûtes, Bourgogne (France)
28 Orchestre Européen Hector Berlioz | Chœur Britten p. 52
29 Trio George Sand p. 39
SEPTEMBER 2011
2 Chamayou p. 25
Saint-Pierre des Cuisines, Toulouse (France)
Die Glocke, Bremen (Germany)
10 Bacchetti p. 40
13 Filarmonica Arturo Toscanini di Parma | Latham-Koenig p. 19
Duomo, Forlì (Italy)
15 Luzzati | Luzzati p. 40
17 Couteau p. 25
148
17 Vlaams Radio Koor | Niquet p. 59
Église Saint-François, Boulogne-sur-Mer (France)
18 Trio Arcadis p. 40
19 Violi p. 26
20 Les Solistes des Siècles | Jude | Désert p. 64
Église Saint-Maurice, Salins-les-Bains (France)
28 La Belle au bois dormant (1829) p. 78
Théâtre musical, Besançon (France)
Théâtre Edwige Feuillère, Vesoul (France)
30 Symposium p. 87
31 Symposium p. 87
OCTOBER 2011
1 Symposium p. 87
2 Symposium p. 87
2 Le Concert Spirituel | Niquet p. 34
2 L’Heure espagnole p. 79
Auditorium Maurice Ravel, Levallois-Perret (France)
Musée-Promenade Marly-le-Roi, Louveciennes (France)
6 Bellucci p. 27
Institut culturel italien de Paris (France)
6 Descharmes p. 41
7 Trio Chausson p. 69
Scuola Grande di San Rocco, Venice (Italy)
8 Velletaz | Borghi | Kalinine | Do | Pruvot | Jamin p. 41
Théâtre du Centre municipal des loisirs,
Montfort L’Amaury (France)
9 Violi p. 26
Abbaye, Royaumont (France)
12 Graffin | Devoyon p. 27
13 Violi p. 26
Galerie de bal, Palais Impérial de Compiègne (France)
Théâtre du Capitole, Toulouse (France)
13 Symposium p. 87
14 Symposium p. 87
14 Orchestre national de Lorraine | Mercier p. 20
14 Descharmes p. 41
La Courroie, Entraigues-sur-la-Sorgue (France)
Conservatorio di musica Benedetto Marcello, Venice (Italy)
20 La Sinfonie Bohémienne p. 30
Salle Aglaé Moyne, Pamiers (France)
23 Concerto Köln | Moulds p. 20
Teatro Toniolo, Mestre (Italy)
26 Beaugiraud | Bensmail p. 30
26 Symposium p. 88
Université François Rabelais, Tours and Auditorium
Austerlitz, Musée de l’Armée, Invalides, Paris (France)
27 Symposium p. 88
28 Symposium p. 88
Teatro Comunale di Monfalcone (Italy)
28 Orchestre symphonique de Mulhouse | Klajner p. 55
29 Symposium p. 88
Notes on the Unity of Italy: opera, Napoleon III and political
identity
149
Concert Hall, Conservatory (Singapore)
29 Orchestre symphonique de Mulhouse | Klajner p. 55
30 La Sinfonie Bohemiènne p. 30
NOVEMBER 2011
Quatuor Manfred p. 39
Hong-Kong (China)
3 Quatuor Alma Amadè | Delunsch | Jude p. 42
4 Orchestre de Picardie | van Beek p. 21
Théâtre Impérial, Compiègne (France)
4 Padoan | Barutti p. 31
5 Orchestre de Picardie | van Beek p. 21
Théâtre d’Abbeville (France)
10 Béréau | Bonneu p. 42
Hôpital Sainte Périne, Paris (France)
13 Morozova p. 26
13 Lubimov p. 27
Amphithéâtre de la Cité de la Musique, Paris (France)
15 I Virtuosi delle Muse | Molardi p. 34
15 Orchestre national de chambre du Luxembourg | Brochot p. 59
16 Morozova p. 26
16 Violi p. 26
Scuola Grande San Giovanni Evangelista, Venice (Italy)
17 Bizjak | Bizjak p. 42
150
18 Couteau p. 25
18 Françoise de Rimini (1882) p. 79
19 Couteau p. 25
Teatro Bibiena, Mantua (Italy)
24 Amadis de Gaule (1779) p. 80
25 Tanimura | Droy | Villard p. 43
Institut National des Jeunes Aveugles, Paris (France)
25 Orchestre symphonique de Mulhouse | Jones p. 55
26 Orchestre symphonique de Mulhouse | Jones p. 55
30 Descharmes p. 41
Centre Culturel de la Sarthe – Abbaye de L’Épau (France)
DECEMBER 2011
1 Symposium p. 88
2 Symposium p. 88
3 Symposium p. 88
Saint-Nicolas des Lorrains, Rome (Italy)
Église Saint-Cannat-les-Prêcheurs, Marseille (France)
Opéra Royal du Chateâu de Versailles (France)
11 Jeune Orchestre atlantique | Stern p. 21
Théâtre L’Équinoxe, Châteauroux (France)
Théâtre des Quatre-Saisons, Gradignan (France)
Opéra Royal du Chateâu de Versailles (France)
JANUARY 2012
Hôtel de Soubise (Archives nationales), Paris (France)
15 Kalinine | Le Hérissier p. 43
Salle Poirel, Nancy (France)
19 Symposium p. 89
20 Symposium p. 89
26 Symposium p. 89
Music in Naples during the “French decade” (1806-1815)
27 Symposium p. 89
28 Symposium p. 89
31 Le Martyre de Saint Sébastien p. 80
Salle de Concert, Cité de la Musique, Paris (France)
FEBRUARY 2012
Innocenzi p. 59
Cathedral of the Holy Cross, Boston (USA)
Salle de Concert, Cité de la Musique, Paris (France)
3 Descharmes p. 41
4 Velletaz | Borghi | Kalinine | Do | Pruvot | Jamin p. 41
7 Bernold | Caussé | Pierlot | Charlier p. 31
Théâtre du Jeu de Paume, Aix-en-Provence (France)
Temple d’Illkirch (France)
8 Tanimura | Droy | Villard p. 43
9 Orchestre de l’Opéra de Rouen | Hermus p. 22
Opéra de Rouen (France)
151
9 Jarrousky | Ducros p. 44
11 Descharmes p. 41
Opéra de Lille (France)
16 Descharmes | Vichard p. 44
16 Orchestre de la Philharmonie Slovaque | Pâris p. 22
Old Opéra House, Bratislava (Slovak Republic)
17 Orchestre de la Philharmonie Slovaque | Pâris p. 22
Old Opéra House, Bratislava (Slovak Republic)
17 Schola Cantorum de Hartford | Soli Deo Gloria Orchestra p. 60
The Cathedral of Saint Joseph, Hartford (USA)
18 Bacchetti p. 40
19 Trio Arcadis p. 40
Gallerie di Palazzo Leoni Montanari, Vicenza (Italy)
20 Organistes de l’American Guild of Organists p. 60
St. Ignatius Loyola, New York (USA)
21 Organistes de l’American Guild of Organists p. 60
The Brick Presbyterian Church, New York (USA)
25 Ensemble Initium p. 45
26 Ensemble Initium p. 45
Gallerie di Palazzo Leoni Montanari, Vicenza (Italy)
28 Graffin | Désert p. 46
152
28 Christoyannis | Apostolopoulos p. 45
Amphithéâtre de la Cité de la musique, Paris (France)
MARCH 2012
Hautes Écoles de Musique de Genève et de Lausanne p. 64
Théâtre de La Chaux-de-Fonds (Switzerland)
1Christoyannis | Apostolopoulos p. 45
3 Guillaume Tell (1829) p. 81
10 Béréau | Bonneu p. 42
Hôtel de Soubise (Archives nationales), Paris (France)
11 Le Cercle de l’Harmonie | Rohrer p. 31
Philharmonie de Cologne (Germany)
Chapelle du Calvaire, Paris (France)
29 Symposium p. 90
30 Symposium p. 90
30 MAV Symphony Orchestra | Pâris p. 22
RaM Colosseum Center, Budapest (Hungary)
30
30
31
31
Orchestre symphonique de Mulhouse | Klajner p. 55
Amphithéâtre de l’Opéra Bastille, Paris (France)
Amphithéâtre de l’Opéra Bastille, Paris (France)
Orchestre symphonique de Mulhouse | Klajner p. 55
APRIL 2012
Eidi | Rouchon p. 74
Auditorium, Conservatoire de Nantes (France)
Symposium p. 90
The Paris Conservatoire under the directorships of Thomas,
Dubois and Fauré (1871-1920)
Conservatoire national supérieur de musique et de danse
de Paris, Paris (France)
3 Symposium p. 91
4 Symposium p. 91
5 La Muette de Portici (1828) p. 82
Le Mail, Soisson (France)
Monte Carlo (Monaco)
Grand Théâtre de Provence, Aix-en-Provence (France)
Auditorium Parco della musica, Rome (Italy)
Théâtre d'Arras (France)
14 Trio Chausson p. 69
Abbaye, Talloires (France)
Jezuïetenkerk, Lier (Belgium)
27 Berliner Symphoniker | Shambadal p. 23
Teatro Comunale, Pordenone (Italy)
Florakerk, Merelbeke (Belgium)
28 Quatuor Diotima p. 64
MAY 2012
Quatuor Cambini – Paris p. 38
Oratorio San Filippo Neri, Bologna (Italy)
Cagliari (Italy)
Monthodon (France)
153
Hoffman | Seilig p. 71
Le Mans (France)
Bernold | Ceysson | Roussev | Da Silva | Demarquette p. 65
Le Mans (France)
Trio Chausson p. 69
Le Mans (France)
Strosser p. 70
Le Mans (France)
3 Brussels Philharmonic | Niquet p. 52
Salle Flagey, Brussels (Belgium)
3 Coppey | Guy p. 70
5 Brussels Philharmonic | Niquet p. 52
6 Berliner Symphoniker | Shambadal p. 23
Philharmonie Berlin (Germany)
6 Trio Portici p. 70
Grand Théâtre de Bordeaux (France)
18 Kalinine | Le Hérissier p. 43
19 Tomassi | Borghi | Zappa p. 71
20 Quatuor Satie | Martin p. 69
24 Orchestre Poitou-Charentes | Heisser p. 53
Le Mans (France)
26 Turetta p. 60
Basilica dei Frari, Venice (Italy)
154
26
27
28
30
31
31
31
Dubois | Godin p. 71
Descharmes p. 41
Salque | Lesage p. 46
Les Siècles | Roth p. 60
Complexe Athéna, La Ferté-Bernard (France)
Guillaume Tell (1829) p. 81
Quatuor Debussy | Désert | Strosser p. 65
JUNE 2012
1
2
2
2
3
5
6
17
18
Quatuor Diotima p. 64
Château d’Hardelot (France)
Les Filles de l’Île | Les Chantres musiciens | Patenaude p. 61
Lapointe p. 46
Quatuor Debussy | Désert | Strosser p. 65
Le Mans (France)
Chœur de la Société philharmonique du Nouveau Monde |
Malgoire p. 65
Chœur de la Société philharmonique du Nouveau Monde |
Brousseau p. 61
Solistes de l’Orchestre symphonique de Mulhouse p. 55
Musée de l’impression sur étoffe, Mulhouse (France)
Solistes de l’Orchestre symphonique de Mulhouse p. 55
Musée de l’impression sur étoffe, Mulhouse (France)
Roth p. 61
Église, Saint-Sulpice, Paris (France)
Les Pêcheurs de perles (1863) p. 81
19
20
20
22
24
26
26
28
Symposium p. 91
Exoticism and opera
Symposium p. 91
Exoticism and opera
Guillaume Tell (1829) pag. 81
SEPTEMBER 2012
1
20
30
Festival de La Chaise-Dieu (France)
Salle Varèse, Conservatoire national supérieur de musique
de Lyon (France)
Grether | Reyes p. 67
Serres d’Auteuil, Paris (France)
Innocenzi | Gonzalez Toro… p. 61
Église, Saint-Sulpice, Paris (France)
Maîtrise de Radio France | Jeannin p. 61
Victoria Hall, Geneva (Switzerland)
JULY 2012
Salle de l’Harmonie de Verviers (Belgium)
Église, Viscomtat (France)
Conservatoire royal de Bruxelles (Belgium)
30CC / Centre culturel de Leuven (Belgium)
Festival des Forêts (France)
155
CALENDAR
OF CONCERTS
IN VENICE
FESTIVAL
VIRTUOSITY
8 OCTOBER – 19 NOVEMBER 2011
FESTIVAL
LE SALON ROMANTIQUE
4 – 28 February 2012
FESTIVAL
THÉODORE DUBOIS AND OFFICIAL ART
14 APRIL – 27 MAY 2012
Saturday 8 October
5 p.m. | Palazzetto Bru Zane
Fuchs, soprano | Cemin, piano
8 p.m. | Scuola Grande di San Rocco
Les Talens Lyriques | Rousset, conductor | Gens, soprano
Saturday 4 February 8 p.m. | Scuola S. Giovanni Evangelista
Velletaz | Borghi | Kalinine | Do | Pruvot, singers
Jamin, piano
Saturday 14 April
Trio Chausson
8 p.m. | Scuola S. Giovanni Evangelista
Quatuor Ardeo | Violi, piano
Sunday 9 October 5 p.m. | Palazzetto Bru Zane
Violi, piano
Wednesday 12 October 8 p.m. | Palazzetto Bru Zane
Graffin, violin | Devoyon, piano
Tuesday 18 October 8 p.m. | Conservatorio di musica
Octuor de France
Saturday 22 October
Duo Atyopsis
8 p.m. | Conservatorio di musica
Quintette à vent de Paris
Saturday 11 February 8 p.m. | Palazzetto Bru Zane
Descharmes, piano
Sunday 12 February 5 p.m. | Palazzetto Bru Zane
Thursday 16 February 8 p.m. | Palazzetto Bru Zane
Descharmes, cello | Vichard, piano
Bacchetti, piano
Bizjak | Bizjak, piano
Sunday 23 October 9 p.m. | Teatro Toniolo, Mestre
Concerto Köln | Moulds, conductor | Jakowicz, violon
Sunday 19 February 5 p.m. | Palazzetto Bru Zane
Trio Arcadis
Saturday 29 October 8 p.m. | Palazzetto Bru Zane
Beaugiraud, oboe | Bensmail, piano
Saturday 25 February 8 p.m. | Conservatorio di musica
Ensemble Initium
Sunday 30 October 5 p.m. | Palazzetto Bru Zane
La Sinfonie Bohémienne
Tuesday 28 February 8 p.m. | Palazzetto Bru Zane
Christoyannis, baritone | Apostolopoulos, piano
Friday 4 November 8 p.m. | Palazzetto Bru Zane
Padoan, horn | Barutti, piano
Sunday 13 November 5 p.m. | Palazzetto Bru Zane
Morozova, piano
Thursday 17 November 8 p.m. | Scuola S. Giovanni Evangelista
I Virtuosi delle Muse | Molardi, piano and conductor
Guyonnet, violin solo | Invernizzi, soprano
Saturday 19 November 8 p.m. | Palazzetto Bru Zane
Couteau, piano
156
Wednesday 8 February 8 p.m. | Palazzetto Bru Zane
Tanimura, soprano | Droy, tenor | Villard, piano
Sunday 15 April 5 p.m. | Scuola Grande di San Rocco
Les Siècles | Roth, conductor | Planès, piano
Saturday 28 April | Palazzetto Bru Zane
5 p.m. | Quatuor Raphaël 8 p.m. | Quatuor Diotima
Sunday 29 April 5 p.m. | Scuola S. Giovanni Evangelista
Vlaams Radio Koor | Niquet, conductor
Thursday 3 May 8 p.m. | Palazzetto Bru Zane
Coppey, violoncelle | Guy, piano
Saturday 5 May 8 p.m. | Scuola Grande di San Rocco
Brussels Philharmonic | Niquet, conductor | Ceysson, harp
Sunday 6 May 5 p.m. | Palazzetto Bru Zane
Trio Portici
Tuesday 8 May 8 p.m. | Conservatorio di musica
L’Armée des Romantiques
Thursday 17 May 8 p.m. | Palazzetto Bru Zane
Grether, violin | Reyes, piano
Saturday 19 May 8 p.m. | Palazzetto Bru Zane
Tomassi, soprano | Borghi, mezzo-soprano | Zappa, piano
Quatuor Satie | Martin, piano
Saturday 26 May
Rouchon, baritone | Eidi, piano
8 p.m. | Basilica dei Frari
Turetta, organ
Dubois | Godin, piano
157
TICKET PRICES AND BOOKING
PRICES
Palazzetto Bru Zane
One category only
25 euros | 15 euros*
Scuola Grande San Giovanni Evangelista
Scuola Grande di San Rocco
Category 1 30 euros | 20 euros*
Category 2 20 euros | 10 euros*
Basilica dei Frari
Conservatorio di musica Benedetto Marcello
One category only
10 euros | 5 euros*
Teatro Toniolo, Mestre
One category only
SEASON TICKETS
Save by choosing 3, 6 or 12 concerts from the season of
events:
Any 3 concerts
Any 6 concerts 100 euros | 60 euros*
Any 12 concerts 180 euros | 100 euros*
*Reduction for students and persons under the age of 28
Reductions
Members of: Collezione Peggy Guggenheim, Touring
Club Italiano, Alliance française, Amici della Musica di
Mestre, Conservatorio di musica Benedetto Marcello,
Amici della musica di Padova. Holders of: TolettaCard,
Venice Card, Rolling Venice, Carta Giovani Venezia, card
of Palazzo Grassi & Punta della Dogana.
Special rates also available for groups, associations, and
works councils.
Booking
RAILWAY
STATION
At the box office
The box office at the Palazzetto Bru Zane is open from
Monday to Friday, 2 p.m. to 5 p.m.
Tickets will also be on sale at the venue from one hour
before the performance is due to begin.
By telephone
Palazzetto Bru Zane : + 39 0415211005
Vivaticket Call Center: Monday to Friday, 8 a.m. to 8 p.m.;
Saturday, 8 a.m. to 1 p.m.
From Italy: 899 666 805 / 89 24 24
From other countries: + 39 0445 230313
Online
billetterie@bru-zane.com
www.bru-zane.com
www.vivaticket.it
By fax
Send a fax to +39 0415242049 specifying the concert
you wish to attend, the number of seats required and
the category chosen, and giving the following credit
card details: type of card, card number, expiry date,
CVV code (the three-digit security code – last 3 numbers –
printed on the back of your credit card).
158
159
THE CONCERT
VENUES
IN VENICE
Palazzetto Bru Zane
Campiello del Forner o del Marangon
San Polo 2368 | 30125 Venice
www.bru-zane.com
160
Basilica dei Frari
Campo dei Frari
www.basilicadeifrari.it
Conservatorio Benedetto Marcello
Palazzo Pisani
San Marco 2810 | 30124 Venice
www.conseve.net
Scuola Grande
San Giovanni Evangelista
www.scuolasangiovanni.it
Scuola Grande di San Rocco
Campo San Rocco
www.scuolagrandesanrocco.it
Teatro Toniolo
P.tta Cesare Battisti, 1 | 30172 Mestre
www.teatrotoniolo.info
161
© 2011 - Palazzetto Bru Zane
All rights reserved
photograFIC CrEdits
© Private collection and Académie de France in Rome
TRANSLATIONS Mary Pardoe
DESIGN Tapiro
PHOTO ORCH_chemollo | Michele Crosera
PRINTED BY Cartotecnica Veneziana, Venice
Printed on high quality uncoated recycled papers FSC fibre
Palazzetto Bru Zane
San Polo 2368, 30125 Venice - Italy
ph. +39 041 52 11 005
contact@bru-zane.com
www.bru-zane.com

season 2011-2012 - Palazzetto Bru Zane

Transcription

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