Symphonie N° 9 En Mi Mineur « Du Nouveau Monde » Opus 95

antonin dvotak 1841-1904 symphony nO.9 in e minor op.95, 'from the new world' symphonie n° 9 en mi mineur « du nouveau monde » opus 95 robert schumann 1810-1856 konzertstuck for 4 horns and orchestra in f major op.86 pour quatre cors et orchestre en fa majeur opus 86

david guerrier, antoine dreyfuss, emmanuel padieu, bernard schirrer HORNS I CaRS

la chambre philharmonique em manuel krivine

3 la chambre philharmonique emmanuel krivine

antonin dvofak 1841-1904 KONZERTMEISTER CORANGLAIS symphony nO.9 in e minor op.95, 'from the new world' alexander janiczek taka kitazato symphonie n° 9 en mi mineur « du nouveau monde » opus 95 1893 FIRST ViOliNS IVIOlONS I ClARINETS IClARlNETTES christophe robert, laszlo paulik, sophie barber, luca lucchetta, francesco spendolini gilone gaubert-jacques, miho kamiya, 1 Adagio - Allegro molto 12'08 igor keller, helene houzel, pierre baldassare BASSOONS IBASSONS 2 Largo 11'18 aligi voltan, david doucot 3 Scherzo: Molto vivace - Poco sostenuto 7'48 SECOND ViOliNS IVIOlONS II anne maury, francolse duffaud, SOlO HORNS I CORS SOlOS 4 Allegro con fuoco 11'09 john wilson meyer, meike augustin, david guerrier, antoine dreyfuss, karine gillette, nathalie descamps, emmanuel padieu, bernard schirrer martin reimann, corrado lepore HORNS I CORS robert schumann 1810-1856 VIOlAS IAlTOS pierre-yves madeuf, florent maupetit konzertsttick catherine puig, franccis baldassare, ingrid lormand, sabine cormier, lucia peralta, TRUMPETS ITROMPETTES fUr vier horner und grosses orchester f-our op.86 laurent dore, laurent muller [ean-franccis madeuf, [osl lahens for 4 horns and orchestra in f major op.86 CELLOS IVIOlONCELLES TROMBONES pour quatre cors et orchestre en fa majeur opus 86 1849 nicolas hartmann, thomas luks, laurent madeuf, cedrlc vinatier, frederic audibert, elena andreyev, antoine ganaye Lebhaft 7'12 frederic baldassare, hilary metzger 5 TUBA 6 Romanze 4'50 DOUBLE BASSES I CONTREBASSES volny hostiou 7 Sehr Lebhaft 5'57 david sinclair, ludek bra ny, damien cesbron, michael neuhaus, matthias scholz TIMPANI I TIMBALES aline potin-guirao FLUTES I FLOTES catherine puertolas, nels lindeblad (piccolo), PERCUSSIONS manuel granatiero emmanuel curt

OBOES I HAUTBOIS christian moreaux, jean-marc philippe nouveaux mondes symphoniques par alain chotil-fani

« J'ai beaucoup travaile ces demiers temps, c'est man annee la plus feconde. » (Iettre a Ferdinand de l'ommpresent modele europeen, C'est la raison pour laquelle elle accepta de payer une somme Hiller, 12 avril 1849). Robert Schumann a en elfet de quai se rejouir : I'inspiration lui vient avec considerable pour faire venir d'Europe centrale Antonin Dvorak, I'un des plus grands noms de naturel, et il compose coup sur coup plusieurs ceuvres majeures com me les Scenes de la foret l'epoque. Ce dernier a developpe un etonnant processus de creation: il sait assimiler I'esprit opus 82, par lesquelles il renoue avec l'ecriture pianistique, au les Fantasiestiicke pour clarinette des musiques populaires slaves, pour etre en mesure de composer des ceuvres originales, sans et piano opus 73. Le perfectionnement du cor chromatique a trois pistons par Ie facteur Leopold citation explicite, mais impreqnees d'un intense caractere national. En outre, c'est un compo- Uhlmann eveille son interet et I'incite a ecrire un Adagio et Allegro pour cor et piano, suivi du siteur complet, illustre pour ses Danses slaves, sa musique de chambre, ses melodies, ses sym- Konzertstiick pour quatre cors et orchestre opus 86. phonies. Si ses operas ne se sont pas imposes hors des fronfieres de la Boheme, ses cantates Les trois mouvements du Konzertstiickforment une veritable ceuvre concertante, dans laquelle et oratorios triomphent en Angleterre. Schumann s'evertue a exploiter les ressources du cor modeme. Jamais cependant il ne laisse Depuis son arrivee aux Etats-Unis et sa prise de fonction a la tete du Conservatoire, en septem- la virtuosite etoufter Ie discours musical. Le mouvement initial, aux accents heroiques, est note bre 1892, Dvorak s'est plonqe dans l'efude des musiques indiennes et des chansons de Stephen lebhaft (viD. La courte Romance annonce Ie solennel Maestoso de la Symphonie rhenane (1850) Foster; mais la veritable revelation provient des chants noirs. Cette decouverte Ie subjugue. II et s'enchaine sans pause au lumineux final. Notes sehr lebhaft (tres vif), tout en traits rapides, invite son eleve afro-americain Henry T. Burleigh a son domicile de la 17' rue, pour I'entendre cette ultime partie renoue avec l'atmosphere epique du debut de I'ceuvre. chanter son repertoire de negro-spirituals. Dvorak trouve dans la chanson « Go down, Moses » « L'une de mes meilleures chases », confia Schumann au sujet du Konzertstiick. Cette page (Let my People go) un theme aussi grand que celui d'un Beethoven! Cet engouement pour la heureuse, revelatrice d'une passion creatrice provisoirement epargnee par la folie, reste encore « musique d'esclaves » bouleverse une certaine societe bien-pensante. On peut imaginer avec meconnue. La difficulte de reunir un quatuor de solistes de qualte peut expliquer sa relative rarete quelle fievre la nouvelle symphonie « americaine » etait attendue. au concert. Peu de temps avant sa creation, Dvorak revele que ses sources d'inspiration sont aussi litte- Pres de quarante-cinq annees plus tard, Ie compositeur tchecue Antonin Dvorak trouve aux Etats- raires. Le Chant de Hiawatha, poeme de vastes dimensions de l'scrivain Henry Longfellow, sert Unis d'autres motifs d'inspiration : « Dans les melodies des Noirs d'Arnericue, je decowre tout de canevas au compositeur pour une prochaine ceuvre Iyrique, sans doute un opera au une ce qu'il faut pour [batirj une grande et noble ecole de musique. » Ces quelques mots aujourd'hui cantate. Dans I'attente de cette composition (qui ne verra malheureusement jamais Iejour), Dvorak plutot anodins ant eveille en leur temps une veritable tempete de controverses. En se penchant a choisi d'en utiliser Ie materiel dans sa symphonie. sur les particularismes locaux, Dvorak ne faisait pourtant que repondre au vceu de son employeur, La premiere audition, Ie 15 decernbre 1893 au Carnegie Hall, est en realite une repetition generale. madame Jeannette Thurber. La fondatrice du Conservatoire national de New York entendait en Elle se deroule en I'absence de Dvorak, vraisemblablement rendu trop nerveux par les enjeux elfet orienter les musiciens de son pays vers la pratique d'un veritable art national, ernaneipe extra-musicaux ; Ie compositeur et les siens seront en revanche bien presents Ie lendemain,

6 pour la premiere officielle. Le concert de la philharmonie new-yorkaise, dirigee par Anton Seidl, Dvorak, tres affecte par I'eloignement de sa terre natale (seuls son epouse et deux de ses six s'acheve en apotheose : dorenavant, la Symphonie II du Nouveau Monde » fera son chemin, enfants I'ont accompagne a New York), exprime sans doute une part de lui-rneme dans ce mou- des deux cotes de l'Atlantique. vement a la beaute sans fard. La symphonie en mi mineur obeit a la forme classique en quatre mouvements. Chacun d'entre L'urgence rythmique du Scherzo: Molto vivace serait insplree par Ie chapitre XI du Chant de eux possede une introduction. L'Adagio - Allegro molto initial, d'une imperieuse vitalite, comporte Hiawatha, deerivant une tete indienne. La partie centrale exploite, en revanche, une danse typi- trois themes. Le premier, en forme de question (arpeqe au cor) - reponse (clarinette et hautbois), quement tcheque (sousedska). Le debut de ce mouvement evocue Ie Molto vivace de la neu- presents d'emblee un rythme pointe et syncope, dit scotch snap (longue - breve - breve -longue), vierne symphonie de Beethoven. Dvorak, s'il en etait conscient, souhaitait probablement si typique de la coloration americaine voulue par Dvorak. Le second theme s'apparente a une revendiquer de la sorte la plus prestigieuse des filiations. danse tcheque (polka), rendue nostalgique par son ton de sol mineur. Un nouveau scotch snap L'Aliegro con fuoco, si celebre par son energique introduction, represents l'achevernent magistral donne son rythme au troisieme theme, expose par la flute. de la symphonie. Le principe cyclique tres elabore, selon lequel chaque mouvement reprend L'irnpefuosite du mouvement initial tranche avec Ie Largo, solennellement introduit par Ie choral tout ou partie des themes deja presentee en ajoutant les siens, trouve ici son aboutissement. des cuivres. Le cor anglais chante alors I'une des plus belles melodies du repertoire, penetree de Peu avant la fin, Dvorak expose une synfhese de tous les themes, conterant a la symphonie douleur et de nostalgie. Le compositeur aurait dit que ce mouvement etait inspire par un passage dans son ensemble une solide et salutaire unite. L'reuvre s'eteint sur un pianissimo de tous les du Chant de Hiawatha intitule « La Famine ». Le jeune Hiawatha part dans les solitudes ennei- pupitres. L'orchestration, de grande valeur, confirme Ie rang de Dvorak parmi les maitres du gees chasser du gibier pour nourrir son epouse, la belle Minnehaha. Mais a son retour, il trouve genre. Ie corps froid de sa bien-aimee. Quelques heures avant Ie concert, Dvorak intitule sa symphonie « Du Nouveau Monde ». Ces « Alors ils ensevelirent Minnehaha, mots sont a entendre comme designant une ceuvre envoyee depuis les Etats-Unis aux amis lis lui firent une tombe dans la neige, testes en Europe. Cette precision ne suffit pourtant pas a retirer toute inspiration arnericaiae a Dans I'obscure et profonde foret la partition: Ie compositeur lui-rneme disait qu'iI n'aurait pas pu ecrire cette ceuvre sans connaitre Sous les pins gemissants ; l'Amerique, L'opinion opposse, selon laquelle cette page serait « la plus tcheque des sympho- lis la vetirent de ses plus riches vetements nies de Dvorak» (William Ritter), n'est pas davantage defendable, en depit de I'utilisation de danses L'envelopperent de ses habits d'hermine, slaves. La partition doit plutot etre consideree comme la preuve que les partlcuarites de la mu- La recouvrirent de neige, telle I'hermine ; sique americaine, au sens large, pouvaient etre ufilisees - et avec quel resultat !- au sein d'une Ainsi, ils ensevelirent Minnehaha". » forme majeure de la musique savante. Une telle reussite n'est pas sans valeur pedagogique :

8 9 Dvorak montre ainsi la voie a ses eleves de Conservatoire et a toute une generation de musiciens trop infeodes a I'inspiration europeenne. Si la Symphonie « du Nouveau Monde » emprunte aux deux rives de I'Atlantique, elie posssde surtout Ie rare privilege de s'adresser a chacun. Celie musique universelie, a la fois si accessible et d'une telie elevation d'esprit, s'inscrit dans la meilieure tradition. Sa longevite et son succes jamais dernentis rendent pleinement hommage a une ceuvre utopique, tournee vers I'avenir sans rien renier du passe.

Sources J. Burghauser, J. Clapham, Themalicky Kala/eg, Praha, Barenrener Editio Supraphon, 1996 M. Beckerman, New Worlds of Dvornk, New York, W. W Norton & Company Ltd., 2003 F.-R. Tranchefort, Guide de /a musique symphonique, Fayard, 1986 httpJ/musicabohemica.blegspot.com

10 ••••••--n-~------david guerrier cor Antoine Dreyfuss est titulaire du CA aux fonctions de professeur de cor et enseigne au Conservatoire du XVI' arrondissement de Paris. David Guerrier, ne Ie 2 decembre 1984 a Pierrelatte dans la Drorne, suit d'abord des etudes de trompette au Conservatoire national superieur de musique de Lyon et obtient de nombreuses recompenses avec son instrument, dont Ie Premier Prix du Concours ARD de Munich et IeYoung Concert Artist Auditions de New York. emmanuel padieu cor II commence l'elude du cor en 2001 et rentre, en 2002, premier nomme dans la classe de Michel Garcin Emmanuel Padieu commence ses etudes musicales au CNR de Dijon avant d'etre admis, en 1986, au Marrou au CNSMD de Lyon. IIs'initie au cours de I'ete 2003 au cor viennois avec Wolfgang Tomb6ck (Wiener Conservatoire national superieur de musique de Lyon dans la classe d'Andre Fournier et Michel Garcin- Philharmoniker). IIjoue en recital cor et piano avec les pianistes Denis Pascal et Eric Le Sage et dans diffe- Marrou. II y obtient son Premier Prix de cor et son Diplome superieur d'efudes musicales (1989). Sans delais- rentes formations de musique de chambre (Festival de l'Ernperi, Rencontres de Bel Air, notamment avec ser Ie jeu du cor moderne, iI s'oriente vers la pratique du cor naturel et explore les techniques specitiques Renaud et Gautier Capuc;on et Paul Meyer). II joue regulierement avec I'ensemble Anamorphose, avec et les possibfites expressives de I'instrument baroque et ciassique, dont il devient un specialists recherche. lequel il a enregistre Ie quintette iI vent de Schoenberg. II a joue Ie Temps du Souffle 1/1de Gilbert Amy, pour II participe a de nombreux festivals, en formation de chambre avec Christophe Coin, Patrick Cohen, Gilles cor solo et ensemble, sous la direction du compositeur. Colliard, Yves Henry, Jean Marc Philips-Varjabecian, Raphael Pidoux, David Grimal, Stephanle-Marie David Guerrier est premier cor solo a I'Orchestre national de France. II fait egalement partie, en tant que Degand, Ie Quatuor Ysaye ... II est egalement membre de La Grande Ecurie & La Chambre du Roy, de premier cor, de La Chambre Philharmonique dirigee par Emmanuel Krivine. II joue regulierement comme I'Ensemble baroque de Limoges et de La Chambre Philharmonique, tout en participant aux productions de soliste avec differents orchestres (Orchestre national de France sous la direction de Kurt Masur, Orchestre l'Orchestre national de France, l'Orchestre de Paris, Stradivaria, II Seminario Musicale, Les Talens Lyriques, de Barcelone et Orchestre philharmonique de Luxembourg sous la direction d'Emmanuel Krivine, Orchestre I'Orchestre Revolutionnaire et Romantique de John Eliot Gardiner. de Cannes et Philippe Bender, Orchestre de Nancy). II a enregistre des concertos de Mozart (pere et fils) TItulaire du CA, Emmanuel Padieu enseigne son instrument dans les conservatoires des V', VI' & VII' arron- pour cor et trompette avec I'Ensemble orchestral de Paris et John Nelson. dissements de Paris. antoine dreyfuss cor bernard schirrer cor Apres des etudes au Conservatoire national de region de Limoges et un Prix d'honneur du Royaume de la Ne en 1965 a Bale, Bernard Schirrer obtient en 1989 un Premier Prix de cor au Conservatoire national musique (1993), Antoine Dreyfuss, ne en 1977, entre en 1994 au Conservatoire national superieur de superieur de musique de Paris dans la ciasse d'Hermann Baumann. Membre du quintette a vent Claude musique de Paris dans la ciasse d'Andre Cazalet (Premier Prix a lunanimite en 1998). Paralelernent, il fre- Debussy, il obtient deux premiers prix aux concours internationaux de Martigny en Suisse et San Sebastian quente la ciasse de musique de chambre de Jens McManama, oil iI obtient la encore un Premier Prix al'una- en Espagne. nlmite. La meme annee, il accede au poste de premier cor solo de l'Orchestre philharmonique de Radio II est nomrne par Semyon Bychkov membre de I'orchestre de Paris en 1990. La qualite de son jeu au poste France. de cor grave en fait Ie specialists unanimement reconnu de cette discipline. Son activite de musique de La musique contemporaine est aussi a son repertoire puisqu'iI fait partie des ensembles L'ltineraire et Court- chambre l'amene iI se produire avec diverses formations, notamment avec Ie Quatuor Kandinsky ainsi Circuit, avec lesquels iI joue regulierement en soliste et participe iI de nombreuses creations. II intervient qu'avec I'Ensemble a vent Maurice Bourgue, avec lequel iI a enregistre la Gran Partita de Mozart. egalement avec differents orchestres francais, II est par ailleurs membre du quintette de cuivre Turbulences, avec lequel il developpe un travail autour d'instruments d'epoque, ainsi que de I'Ensemble iI vent Paris- Bastille, au sein duquel iI se produit regulierement en France et a l'etranqer (Philharmonie de Berlin, Concertgebouw d'Amsterdam, Wigmore Hall iI Londres ... ).

12 13 la chambre philharmonique I emmanuel krivine emmanuel krivine direction orchestre sur instruments d'epoque D'origine russe par son pere et polonaise par sa mere, Emmanuel Krivine debute tres jeune une carriere de Nee sous I'egide d'Emmanuel Krivine, La Chambre Philharmonique se veut l'avenernent d'une utopie. violoniste. Premier Prix du conservatoire de Paris a 16 ans, pensionnaire de la Chapelie Musicale Reine Orchestre d'un genre nouveau, consfilue de musiciens issus des meilleures formations europeennes aoimes Elisabeth, il etudie avec Henryk Szeryng et Yehudi Menuhin et s'impose dans les concours les plus renornrnes. d'un merne desir musical, La Chambre Philharmonique fait du plaisir et de la decouverte Ie cceur d'une En 1965, apres une rencontre essentielle avec Karl B6hm, il se consacre peu a peu a la direction d'orchestre. nouvelle aventure en musique. Dotee d'une architecture inedite (instrumentistes et chef se c6toient avec les Chef invite permanent du Nouvel Orchestre Philharmonique de Radio France (1976-1983), iI occupe ensuite memes statuts, Ie recrutement par cooptation privileqie les affinites) et d'un fonctionnement autour de Ie poste de directeur musical de l'Orchestre national de Lyon (1987-2000) et celui de l'Orchestre francais projets specfiques et ponctuels, La Chambre Philharmonique est aussi un lieu de recherches et d'echanqes, des jeunes durant onze amees, retrouvant effectifs, instruments et techniques historiques appropries a chaque repertoire. Coliaborant regulierement avec les meilieures formations, dont Ie Berliner Philharmoniker,le Concertgebouw Depuis ses debuts a la Folie journee de Nantes (2004), La Chambre Philharmonique a connu un engouement d'Amsterdam, Ie London Symphony Orchestra, Ie London Philharmonic Orchestra, Ie Chamber Orchestra partout renouvele (Cite de la musique a Paris, Opera Royal de Versailles, Palau de la Musica Catalana a of Europe, Ie NHK Tokyo, Ie Yomiuri Symphony Orchestra, les orchestres de Boston, Cleveland, Philadel- Barcelone, Philharmonie du Luxembourd, Alte Oper de Francfort, Arsenal de Metz, festivals du Schleswig- phie, Los Angeles, etc., Emmanuel Krivine, depuis son depart de l'Orchestre national de Lyon en 2000, multi- Holstein et de Montreux, Grenoble, Montpellier, Monte-Carlo, Martigues, Caen, Amiens ... ), notamment aux plie ses activites en tant que chef invite. c6tes d'Alain Planes, Andreas Staier, Emanuel Ax, Christophe Coin, Veronique Gens, Alexander Janiczek En 2004, il s'est assode a la demarche originale d'un groupe de musiciens venus des quatre coins d'Europe. et Robert Levin. Elle s'ouvre a la musique d'aujourd'hui en creant des ceuvres de compositeurs comme Bruno Ensemble, ils se consacrent a la decouverte et a l'interpretaton d'un repertoire ciassique et romantique Mantovani en 2005 (commande Chambre Philharmonique) et Yan Maresz en 2006 (commande Mecenat jusqu'a nos jours, choisissant les instruments appropnes a I'ceuvre et son epoque. Depuis leurs premiers Musical Societe Generale). concerts a La Folie Journee de Nantes (2004), La Chambre Philharmonique a su, a travers des projets ambi- Premier enregistrement de I'orchestre, la Messe en ut mineur de Mozart (2005) marque Ie debut d'une tieux, dsmontrer la singularite de sa demarche et gagner progressivement une large reconnaissance, notam- collaboration avec Naive et a donne lieu a une importante tournee en 2006. La seconde parution discogra- ment grace a son premier disque consacree a la Messe en ut de Mozart (2005). phique de La Chambre Philharmonique et d'Emmanuel Krivine, consacree a Mendelssohn (2007), a ete Invite privilegie de l'Orchestre philharmonique du Luxembourg depuis 2001, Emmanuel Krivine a construit distinguee par la critique. En septembre 2007, la captation d'un programme Franck et Faure a la Bibliotheque nationale de France a donne lieu a la diffusion de deux emissions Maestro sur Arte. avec cette formation une relation tres etroite. C'est donc avec enthousiasme qu'il a accepte d'en etre Ie directeur musical depuis de la saison 2006-2007. La Chambre Philharmonique est subventionnee par Ie ministere de la Culture et de la Communication. La Chambre Philharmonique est en residence departementale en Isere. Mecenat Musical Societe Generale est Ie mecene principal de La Chambre Philharmonique. Production deleguee : Instant Pluriel.

14 15 the instruments of lies instruments de la chambre philharmonique I emmanuel krivine

VIOLINS 1 VIOLONS CORANGLAIS e, a, d strings: plain gut; g string: wound gut 1 cordes mi, la, re boyau nu et sol boyau file vinzenz pOchner, graslitz (1900) stradivarius 'baron oppenheim' (1716) Ijohannes cuypers, the hague (1777) I viid()( koos, after guameri (2004) I antonius bagatella, padua (1749) I trancesco ruggieri, cremona (e.1690) I michelangelo bergonzi, cremona (1750) Ijose contreras, madrid (1767) Ifrank ravatin 1 ClARINETS 1 ClARlNETTES (1995) I anonymous, prague (e.1870) Idelia corte, naples (1820) I petro giovanni montegazza, milan (late 18th c.) I thomas earie hesketh, e. greve, karisruhe (e.1840) and i. pOschl, munich (e.1890) Igodfroy I'aine (1840) and a. wagmOller, munich (1910) manchester (1902) Ijohann carot klotz (1725) I petrus johannes mantegetia (1784) I nicolas lupot (1793) I nioolas lupot, orleans (1792) I anonymous (first ha~ of 19th c.) I tomaso eberie, milan (1775) BASSOONS I BASSONS savary ieune (1845) and heekel (1892) Isavary jeune (1846) and i. h. zimmenman (1886) VIOLAS IALTOS a and d strings: plain gut; g and c strings: wound gut I cordes la, re boyau nu et sol, ut boyau file SOLO HORNS 1 CORS SOLOS (SCHUMANN) vincenzo sannino, rorne (1935) I seraphinius, "","nce (1926) I nioolas lambert, paris (second half of 18th c.) Ifrsncois denis (1990) viennese hom,leopold uhlmann (e.1870) Iviennese horn, august beyde (e.l880) Iviennese horn, leopold uhlmann (c.1870) I stephan van baehr, after guameri (2002) Igaetano gadda (1951) Ichristophe wagner, aftergasparo da sal6 (2003) viennese horn, anton dehmal (c.l880)

CELLOS I VIOLONCEllES HORNS 1 CORS a and d strings: plain gut; g and c strings: wound gut 1 cordes la, re boyau nu et sol, ut boyau file natural horn, raoux, paris (eaMy 19th c.) natural horn, raoux, paris (eaMy 19th c.) Iand viennese horn, anton franz cizI< (1905) auguste sebasten bernardel (1866) I franoo simeoni, treviso (1991) Ianonymous, france (e.185O) I stefan van baehr, after stradivarius (2001) I saint paul (1709) I anonymous, tyro! (late 18th c.) TRUMPETS 1 TROMPETTES valve trumpet in f, bohemia (late 19th c.) Ivalve trumpet in f, bohemia (late 19th c.)

DOUBLE BASSES 1 CONTREBASSES TROMBONES g and d strings: plain gut; a and e strings: wound gut 1 cordes sol, re boyau nu et la, miboyau file slide trombone, ed. kruspe (19th c.) and valve trombone, bohemia (late 19th c.) I slide trombone, ed. kruspe (19th c.) and valve trombone, r. turk, after testore 'ex-bottesini' (1960) I giovanni batista gaibisso, alassio (1902) Iswen mentee (2005) Ianonymous, vienna (1780) I frant. sram (eariy 20th c.) I slide trombone, ed. kruspe (19th c.) and 4-valve trombone, a.lapini (late 19th c., bass trombone) oscar kappelmeyer, after stadlmann (2006)

TUBA FLUTES 1 FLOTES 6-valve tuba in f, a. sprinz (beriin, eariy 20th c.) boehm system 1847, cylindrical, wood (abell, usa) I boehm system, cylindrical, wood (auguste bonneville, e.l900) I boehm system 1847, cylindrical, wood (abell, usa) TIMPANI 1 TIMBALES belt timpani,lefima (after 19th - c. originals)

OBOES I HAUTBOIS Brass ilstrumenls restored by Patrid< FIlI~.lwww.fraize-marques.comJ, with Pierre Turpin for the tons. otivier conet, aftergolde (c. 1850) [jacqoes nonon (e.185O) and f. triebert (e.1875) les cuivres soot restaures par Patrick Fraize {www.fraize-marques.coml, avec Pierre Turpin pour Ies COI'S. - 16 17 new symphonic worlds by alain chotil-fani

'For some time now I've been very busy - it's been my most fruitful year' (letter to Ferdinand the practice of a genuinely national art, emancipated from the omnipresent European model. This Hiller, 12 April 1849). When he wrote these words, Robert Schumann had cause for rejoicing: is why she agreed to pay a considerable sum to bring Antonfn Dvorak, one of the greatest names his inspiration was flowing freely, and he composed several major works one after the other, in- of the day, over from central Europe. He had developed an astonishing creative method: he had cluding the Waldscenen op.82, which marked his return to the piano, and the Fantasiestiicke succeeded in assimilating the spirit of Slavonic folk music to such an extent that he could com- op.73 for clarinet and piano. The chromatic three-valve horn, recenHyperfected by Leopold Uhlmann, pose original works, devoid of explicit quotation, yet imbued with an intensely national charac- aroused his interest, prompting him to write an Adagio and Allegro for horn and piano, followed ter. He was, moreover, a composer of all-round abilities, celebrated for his Slavonic Dances, his by the Konzertstiick for four horns and orchestra op.86. chamber music, his songs, his symphonies. Although his operas did not enter the repertoire out- The three movements of the Konzertstiick form a true concertante work, in which Schumann side the frontiers of Bohemia, his cantatas and oratorios enjoyed a triumph in England. strives to exploit the resources of the modern horn. But he never allows virtuosity to stifle the On arriving in the USA and taking up his functions at the head of the Conservatory in September musical discourse. The first movement, heroic in tone, is marked Lebhaft (lively). The short Romanze 1892, Dvorak threw himself into the study of Amerindian music and the songs of Stephen Foster; foreshadows the solemn Maestoso of the 'Rhenish' Symphony (1850), and moves without a break but the true revelation came from the songs of the Black population, which enthralled him. He into the radiant finale, marked Sehr lebhaft (very lively) and dominated by rapid virtuoso runs, invited his Afro-American pupil Henry T. Burleigh to his home on 17th Street to sing his reper- which reverts to the epic atmosphere of the work's opening. tory of Negro spirituals. Dvorak thoughtthe theme of the song 'Go down, Moses' ('Let My People 'One of the best things I have done', Schumann said of the Konzertstiick. This felicitous piece, Go') was as great as one of Beethoven's! His fascination with 'slave music' greatly disturbed a which reveals a creative passion given a temporary reprieve from madness, is still little-known. certain self-righteous element of New York society. One may imagine how feverishly the new The difficulty of assembling a quartet of top-quality soloists may explain its relative rarity in the 'American' symphony was awaited. concert hall. Shortly before the premiere, Dvorak revealed that his sources of inspiration also encompassed Nearly forty-five years later, the Czech composer Antonfn Dvorak found other sources of inspi- literature. He was using The Song of Hiawatha, the vast poem by Henry Wadsworth Longfellow, ration in the United States: 'In the Negro spirituals of America, I discover all that is needed for as the backcloth for a future vocal work, probably an opera or a cantata. While keeping this com- a great and noble school of music.' position on hold (unfortunately it was never to see the light of day), Dvorak decided to utilise its These few words, which seem innocuous enough today, provoked a veritable storm of contro- material in his symphony. versy in their time. Yet in reflecting on the specific characteristics of the local music, Dvorak was The first public performance, held at Carnegie Hall on 15 December 1893, was in reality a dress merely responding to the wishes of his employer, Mrs Jeannette Thurber, founder of the National rehearsal. It took place in the absence of Dvorak, who had doubtless been made too nervous Conservatory of New York. It was her intention to guide the musicians of her country towards by the extra-musical issues at stake; but the composer and his family were present the next day

18 19 for the official premiere. The concert by the New York Philharmonic under Anton Seidl ended in Deeply affected by being so far from his homeland (only his wife and two of his six children had a blaze of glory: henceforth the Symphony 'From the New World' was launched on a success- accompanied him to New York), Dvorak was doubtless expressing something of his own feel- ful career on both sides of the Atlantic. ings in the unaffected beauty of this movement. The Symphony in E minor follows the classical design in four movements, each of which here The rhythmic urgency of the Scherzo: Molto vivace is said to have been inspired by Chapter XI possesses an introduction. The opening Adagio -Allegro molto, pressing and vital, presents three of The Song of Hiawatha, which describes an Indian feast. The central section, on the other hand, themes. The first, in the form of question (horn arpeggio) and answer (clarinet and oboe), imme- makes use of a typically Czech dance (sousedska). The start of this movement is reminiscent of diately states a dotted, syncopated 'Scotch snap' rhythm (long - short - short - long) typical of the Molto vivace of Beethoven's Ninth Symphony. If this was a conscious allusion on Dvorak's the American colouring Dvorak sought. The second theme resembles a Czech dance (polka), part, he probably intended to assert a filiation with the most prestigious of symphonists. given a nostalgic tinge by its key of G minor. Another Scotch snap lends its rhythm to the third The Allegro con fuoco, famous for its energetic introduction, represents the magisterial culmin- theme, assigned to the flute. ation of the work. The extremely elaborate cyclic principle according to which each movement The impetuosity of the opening movement is in sharp contrast with the Largo, solemnly intro- quotes wholly or in part themes already presented earlier, while also adding its own thematic duced by a brass chorale. Then the cor anglais sings one of the loveliest melodies in the reper- material, reaches its climax here. Shortly before the end, Dvorak presents a synthesis of all the toire, full of sorrow and yearning. The composer is supposed to have said that this rnovement themes, giving the symphony as a whole a solid and salutary unity. The work dies away in a gen- was inspired by the chapter of The Song of Hiawatha entitled 'The Famine'. The young Hiawatha eral pianissimo. The skilful orchestration confirms Dvorak's place among the masters of the genre. sets out to hunt game amid the snowy wastes in order to nourish his wife, the beautiful Minnehaha. Afew hours before the concert, Dvorak entitled his symphony 'From the New World'. These words But when he returns he finds the cold body of his beloved. are to be understood as designating a work sent from the United States to his friends who had Then they buried Minnehaha; remained in Europe. Nevertheless, this fact is not sufficient to deny all American inspiration in In the snow a grave they made her the score: the composer himself said he could not have written it without knowing America. The In the forest deep and handsome opposing view that this is 'the most Czech of Dvorak's symphonies' (William Ritter) is no more Underneath the moaning hemlocks; tenable, despite the work's recourse to Slavonic dances. It should be regarded, rather, as proof Clothed her in the richest garments, that the specitic features of American music, in the broad sense, could be employed - and with Wrapped her in her robes of ermine, what results! - within a major genre of art music. The successful outcome of the venture was not Covered her with snow, like ermine; without its pedagogic value: Dvorak showed the way forward to his conservatory pupils and to Thus they buried Minnehaha. a whole generation of musicians hitherto excessively reliant on European inspiration. - 20 21 david guerrier horn David Guerrier was born on 2 December 1984 at Pierrelatte in the Dr6me departement. He initially learnt the trumpet, which he studied at the CNSM in Lyon, and went on to win many prizes on this instrument, including First Prize at the ARD Competition in Munich and the Young Concert Artist Auditions in New York. If the Symphony 'From the New World' borrows from both sides of the Atlantic, it possesses, above He began studying the horn in 2001 and entered Michel Garcin-Marrou's class at the Conservatoire National Superieur de Musique in Lyon (CNSM) in 2002, having come first in the entrance examination. During the sum- all, the rare privilege of having something to say to each of them. This universal music, at once so mer of 2003 he started playing the Viennese horn with Wolfgang Tomb6ck of the Vienna Philhanmonic. He now accessible and so lofty in spirit, belongs to the finest tradition. Its longevity and perennial popular- plays in recital with the pianists Denis Pascal and Eric Le Sage and in various chamber formations at such ity show it to be a utopian work, looking towards the future while renouncing nothing of the past. events as the Festival de l'Ernperi and the Rencontres de Bel Air, notably with Renaud and Gautier Capucon and Paul Meyer. He appears regularly with the Anamorphose ensemble, with which he has recorded Schoenberg's Wind Quintet. He has performed Gilbert Amy's Le Temps du Souffle III for horn solo and ensemble under the direction of the composer. David Guerrier is principal horn of the Orchestre National de France. He also plays as first horn in La Chambre Philharmonique under the direction of Emmanuel Krivine. He appears regularly as a soloist with various orchestras, including the Orchestre National de France under Kurt Masur, the Orquestra Simtonica de Barcelona and the Luxembourg Philharmonic Orchestra under Emmanuel Krivine, the Orchestre de Cannes-PACA under Philippe Bender, and the Orchestre de Nancy. He has recorded concertos for horn and trumpet by Leopold and W. A. Mozart with the Ensemble Orchestral de Paris and John Nelson.

antoine dreyfuss horn Antoine Dreyfuss was born in 1977. After studying at the Conservatoire National de Region (CNR) in Limoges and winning a Prix d'Honneur in the competition Le Royaume de la Musique in 1993, he entered Andre Cazalet's horn class at the CNSM in Paris in 1994, graduating in 1998 with a Premier Prix by unanimous de- cision. In parallel with this he attended the chamber music class under Jens McManama, and was also awarded a Premier Prix a I'unanimite in this discipline. In his graduation year of 1998 he was appointed to the post of principal horn of the Orchestre Philharmonique de Radio France. Contemporary music is a key part of his repertoire, since he is a member of the ensembles l.'ltineraire and Sources Court-Circuit, with which he frequently plays as a soloist and takes part in numerous first performances. He J. Burghauser. J. Clapham, Thematicky Katalog (Prague: Barenreiter-Eoino Supraphon. 1996) M. Beckenman,New Worlds of Dvorak (New York: W. W Norton, 2003) also performs with various French orchestras, and is a member of the brass quintet Turbulences, with which F.-R. Tranchefort, Guide de la musique symphonique (Paris: Fayard, 1986) he works on period instruments, and of the Ensemble a Vent Paris-Bastille, with which he appears regularly http://musicabohemica.blogspot.com

22 23 in France and abroad in such venues as the Berlin Philharmonie, the Amsterdam Concertgebouw, and the Wigmore Hall in London. la chambre philharmonique I emmanuel krivine Antoine Dreyfuss is a qualified horn teacher, and gives classes at the Conservatoire of the 16th arrondisse- period-instrument orchestra ment of Paris. La Chambre Philharmonique, created under the aegis of Emmanuel Krivine, is the result of a utopian ideal. A new type of orchestra, composed of musicians from the greatest European ensembles all motivated by the emmanuel padieu horn same desire to make mUSIC,La Chambre Philharmonique places pleasure and discovery at the heart of its Emmanuel Padieu began studying music at the CNR in Dijon before gaining admission to the class of Andre musical adventure. Its structure is original, in that conductor and players enjoy equal status and current mem- Fournier and Michel Garcin-Marrou at the CNSM in Lyon in 1986. There he obtained a Premier Prix for horn bers choose new players, which encourages a sense of cohesion. A project-based ensemble La Chambre and a Diplorne Superieur d'Etudes Musicales in 1989. Philharrnonique. is also a place for research and exchange. The size of the ensemble is flexible, bringing to- Without abandoning the modem horn, he turned to the practice of the natural horn and explored the specific gether players, Instruments and historical techniques as appropriate for each programme. techniques and expressive possibilities of the Baroque and Classical instrument, of which he became a Since ItSdebut at La Folie Journee in Nantes (2004), La Chambre Philharrnonique has met with keen inter- sought-after specialist. est whe~ever it has played, be it at the Cite de la Musique in Paris, the Opera Royal in Versailles, the Palau He has taken part in many festivals in chamber formations, alongside such musicians as Christophe Coin, de la Muslca Catalana in Barcelona, the Luxembourg Philharrnonie, the Alte Oper in Frankfurt, the Arsenal Patrick Cohen, Gilles Colliard, Yves Henry, Jean Marc Philips-Vaqabedan, Raphael Pidoux, David Grimal, In Metz, the Schleswig-Holstein and Montreux festivals, or Grenoble, Montpellier, Monte Carlo, Martigues, Stephanie-Marte Degand, and the Ysaye Quartet. He is a member of La Grande Ecurie & La Chambre du Caen, Arniens, etc. The ensemble has worked with prestigious soloists such as Alain Planes Andreas Roy, the Ensemble Baroque de Limoges and La Chambre Philharrnonique, while also participating in concerts Staier, Emanuel Ax, Christophe Coin, Veronique Gens, Alexander Janiczek and Robert Levin. It has broad- with the Orchestre National de France, the Orchestre de Paris, Stradivaria, II Seminario Musicale, Les ened its horizons to include the music of today by creating works by composers such as Bruno Mantovani Talens Lyriques, and John Eliot Gardiner's Orchestre Revolutionnaire et Romantique. in 2005 (commissioned by La Chambre Philharrnonique) and Yan Maresz in 2006 (commissioned by Mecenat Emmanuel Padieu is a qualified teacher of his instrument, and is currently a professor at the conservatoires Musical Societe Generaie). of the 5th, 6th and 7th arrondissements of Paris. The. orchestra recorded Mozart's C minor Mass with the Accentus Chamber Choir, Sandrine Piau, Anne-Lise Sollied, Paul Agnew, and Frederic Caton (Naive, 2005) and subsequently toured this programme widely in 2006. The second recording of La Chambre Philharrnonique and Emmanuel Krivine, devoted to Mendelssohn bernard schirrer horn (2007), won numerous awards in the press. A recording of music by Franck and Faure at the Biblothecue Bernard Schirrer was born in Basel in 1965. In 1989 he was awarded a Premier Prix for horn at the CNSM Nationale de France In September 2007 was broadcast in two instalments on the Maestro programme of the Franco-German television channel Arte. in Paris (class of Hermann Baumann). As a member of the Claude Debussy Wind Quintet he won two first prizes at the international competitions of Martigny in Switzerland and San Sebastian in Spain. In 1990 he was appointed to the Orchestre de Paris by Semyon Bychkov. The quality of his playing in the La Chambre Philharrnonique receives funds from the Ministere de la Culture et de la Communication (Ministry of Culture In France) and is in residence in the Isere departement. position of low horn makes him the unanimously acknowledged specialist in this discipline. His activities as a chamber musician have led him to appear with various groups, notably the Kandinsky Quartet and the Mecenat Musical Societe Generale is the principal patron of La Chambre Philharmonique. Management: Instant Pluriel Ensemble a Vent Maurice Bourgue, with which he recorded Mozart's Gran Parti/a.

24 25 emmanuel krivine conductor

Of Russian descent on his father's side and Polish on his mother's, Emmanuel Krivine began his career as a violinist at a very early age. Having been awarded a Premier Prix at the Paris Conservatoire at the age of sixteen and a residence at the Chapelle Musicale Reine Elisabeth in Belgium, he studied with Henryk Szeryng and Yehudi Menuhin and won several renowned intemational competitions. After a decisive encounter with Karl Biihm in 1965, he gradually tumed to conducting. He was penmanent guest conductor of the Nouvel Orchestre Philhanmonique de Radio France from 1976 to 1983, then went on to occupy the post of music director of the Orchestre National de Lyon from 1987 to 2000, while holding the same functions with the Orchestre Francais des Jeunes (French national youth orchestra) for eleven years. Emmanuel Krivine appears regularly with the world's finest orchestras, including the Berlin Philhanmonic, Royal Concertgebouw Orchestra of Amsterdam, London Symphony Orchestra, London Philharmonic Orchestra, Chamber Orchestra of Europe, NHK Orchestra ofTokyo, Yomiuri Symphony Orchestra, and the orchestras of Boston, Cleveland, Philadelphia, and Los Angeles. He has been increasingly active as a guest conductor since leaving the Orchestre National de Lyon in 2000. In 2004, he associated himself with the highly original initiative of a group of musicians from all over Europe. Together they devote their activities to the discovery and perfonmance of repertoire from the Classical and Romantic periods right up to our own times, selecting the instruments appropriate to the work and its era. Since its first concerts at La Folie Journee de Nantes in 2004, La Chambre Philhanmonique has demonstrated its unique approach through an ambitious choice of projects, and has gradually built up a wide reputation, notably thanks to its debut recording, Mozart's C minor Mass (Naive, 2005). As a privileged guest of the Luxembourg Philharmonic Orchestra since 2001, Emmanuel Krivine has developed a particularly close relationship with its players. He therefore enthusiastically accepted a proposal to become the orchestra's music director from the 2006-07 season onwards.

26 also available I eqalernent disponibles

mendelssohn Symphony in A major 'Italian', Symphony in 0 'Reformation' La Chambre Philharmonique, Emmanuel Krivine V 5069

mozart Mass in C minor K427 Sandrine Piau, Anne-Use Sallied, Paul Agnew, Frederic Caton, accentus, La Chambre Philharmonique, Emmanuel Krivine livre-C~ V 5032 & CD V 5043

MECENAT MUSICAL SOCIETE GENERALE www.socgen.com/mecenat-musical 28 Recording producer, sound engineer and editing: Jean-Martial GOlAZ Assistant: Jean-Philippe ROUSSEAU

NaIve Classique, Director: Didier MARTIN [email protected]

Recorded in January 2008 at MC2 - Grenoble (France)

Recording system Converters: dCS 904 ND, SADIE LRX2 Microphones: Neumann TLM50, M149 tube, Schoeps MK 2s, MK 21, MK 4v Preamplifier: Analog Device SSM 2016, E2A Hendicott series mixing console Recorded and edited on SADIE 5

Article translated by Charles JOHNSTON(English)

Mecenat Musical Societe Generale is the principal patron of La Chambre Philharmonique