Études Pour Piano Vol. II Claude Debussy György Ligeti

CYAN MAGENTA GELB SCHWARZ Booklet T 100 Seite 28 CYAN MAGENTA GELB SCHWARZ Booklet T 100 Seite 1 COVER CYAN MAGENTA GELB SCHWARZ INLAYCARD TACET 100 '!0A98FA-abaaaf! TACET TACET Études pour piano Vol. II 100 Études pour piano Vol. II TACET TACET Erika Haase, piano Erika Haase, piano 100 Erika Haase Erika Witold Lutoslawski (1913 –1994) Claude Debussy (1862 –1918) Witold Lutoslawski (1913 –1994) Claude Debussy (1862 –1918) Two Studies (1940 / 41) Douze Études Two Studies (1940 / 41) Douze Études 1 Allegro 2'16 1 Allegro 2'16 http://www.tacet.de · Internet: comprise française Traduction English text enclosed · c p TACET Livre 1 Livre 1 2 Non troppo allegro 3'02 2 Non troppo allegro 3'02 8 I Pour les “cinq doigts” – Études pour piano Vol. II 8 I Pour les “cinq doigts” – 2001 d‘après Monsieur Czerny 3'00 d‘après Monsieur Czerny 3'00 100 Alexandre Scriabine (1872 – 1915) Alexandre Scriabine (1872 – 1915) 9 · Made in Germany TACET Études pour piano Vol.Études pour piano II · II Pour les Tierces 3'30 9 II Pour les Tierces 3'30 Time: Total · 3 Études op. 65 (1911/12) 3 Études op. 65 (1911/12) bl III Pour les Quartes 4'53 Claude Debussy bl III Pour les Quartes 4'53 3 Allegro fantastico 3'43 3 bm IV Pour les Sixtes 4'09 György Ligeti Allegro fantastico 3'43 bm IV Pour les Sixtes 4'09 4 Allegretto 1'54 4 bn V Pour les Octaves 3'12 Allegretto 1'54 bn V Pour les Octaves 3'12 5 Molto vivace – Impérieux 2'23 5 bo VI Pour les Huit Doigts 1'35 Witold Lutoslawski Molto vivace – Impérieux 2'23 bo VI Pour les Huit Doigts 1'35 66'39 Alexandre Scriabine Vol.Études pour piano II · György Ligeti (*1923) Livre 2 György Ligeti (*1923) Livre 2 e e Études – 3 livre · LC bp VII Pour les degrés chromatiques 2'17 Études – 3 livre bp VII Pour les degrés chromatiques 2'17 6 Étude 15 “White on white” (1995) bq VIIIPour les Agréments 4'56 Erika Haase, piano 6 Étude 15 “White on white” (1995) bq VIIIPour les Agréments 4'56 07033 Andante con tenerezza – br IX Pour les notes répétées 3'17 Andante con tenerezza – br IX Pour les notes répétées 3'17 Vivacissimo con brio 4'18 bs X Pour les sonorités opposées 4'56 Vivacissimo con brio 4'18 bs X Pour les sonorités opposées 4'56 7 Étude 16 “Pour Irina” (1996 / 97) bt XI Pour les arpèges composés 4'20 7 Étude 16 “Pour Irina” (1996 / 97) bt XI Pour les arpèges composés 4'20 bu Andante con espressione, XII Pour les accords 4'27 Andante con espressione, bu XII Pour les accords 4'27 Haase Erika poco rubato – Allegro con moto, poco rubato – Allegro con moto, legato ma leggiero 4'25 total playing time: 66'39 legato ma leggiero 4'25 total playing time: 66'39 100 TACET TACET CYAN MAGENTA GELB SCHWARZ TS Tonträger CYAN MAGENTA GELB SCHWARZ TS Tonträger CYAN MAGENTA GELB SCHWARZ TS Tonträger Études pour piano Vol. II of the piano, as a friend wrote at the beginning of 1915, was anathema to him. In this situation At the beginning of the 20th century there was his publisher Durand asked him for a new edi- not much innovation to be expected from the tion of the works of Chopin, as the German genre of the piano étude. After it had reached editions were no longer available in France due a new level with the epochal works of Chopin to the war. This renewed occupation with Cho- and Liszt and had changed from a more or less pin’s music seems to have given him an inspir- musically rich practice piece to a major per- ing stimulus. In any case Debussy left Paris in formance work, the genre seemed to have ex- July 1915, full of impatience, and travelled to hausted itself. So for almost fifty years after Pourville, a small spa in Normandy, to com- Brahms had written his Paganini Variations, pose. In the remoteness of the provinces, in a subtitled “Studies”, there had been no signifi- last spurt of creativity lasting three months, he cant étude compositions. Apart from Scriabin, wrote En blanc et noir for two pianos, the Debussy was the first to reach the level of Cho- Sonate for cello and piano, the Sonate for flute, pin and Liszt and at the same time enrich the viola and harp, and the Douze Ètudes you can genre. The trailblazing novelty of his Douze hear on this CD, the manuscript to which he Études lies in their highly experimental nature; completed on 29th September 1915. they are études not only for the pianist, but He reported regularly to his publisher Du- also for the composer, for the technical object rand about the progress he was making and of the individual pieces, whether a certain in- from this correspondence we are well informed terval or a particular style of playing, becomes about his intentions and changes of plan. Ini- the theme of the compositional thought. They tially Debussy was unsure whether he should require and develop enormous technical virtu- dedicate his Études to the memory of Chopin osity. This impulse towards a new speculative or of Couperin, both of whom he revered and and experimental path of étude composition admired, both innovators in piano playing in was later taken up by other composers and still the 18th and 19th centuries. Finally he decided has an effect today, for example in the works on Chopin who was closer to him in time and of Bartók, Messiaen and Ligeti (all recorded on style. The order of the individual études was Études Vol. I, TACET 53). undecided until shortly before they were The études almost bring up the rear of printed. In the manuscript Debussy favoured Debussy’s creative development. The outbreak alternating fast and slow études. The last piece of the First World War and the effects of the in this initially suggested order, which had cancer which was to end his life had almost nothing in common with the definitive order exhausted his creative strength. Even the sound apart from the fact that they both began with 2 TACET 100 Seite 2 TACET 100 Seite 3 3 the Étude pour le “cinq doits”, would have the abstract and constructive. There is no bor- Instructions about fingering can logically not practice, one played with the nose, so to speak. been the Étude pour les agréments, the object rowing (more than fleeting hints) from the fit all the different shapes of hands. Modern The “wrong” note is stubbornly maintained of which, the embellishments, points to the sphere of light music, nor are there any picto- piano teaching thought it could solve this prob- until it finally puts the player right out. He be- French harpsichordists and thus to Couperin. rial presentations like those that ease our ap- lem by calling for several fingering variations. gins again on a new level, but yet again dis- The final order has a great inner logic. The proach to Debussy’s earlier piano music such as That only creates confusion … The music is turbing notes interrupt. This beginning pre- études are divided into two books which were the Images or the Préludes and make them thus given a strange operation in its appear- pares the Études in at least three different published separately. The first book is dedi- infinitely more popular. Instead his imagination ance, in which the fingers are supposed to ways. Quite clearly this is a trend towards the cated to certain intervals and strides from an was fed purely from the piano problem of each multiply by un unexplained miracle … grotesque, which returns in several pieces, étude for five fingers, which play extracts from individual étude. The constructive consistency “Mozart as a child prodigy could not play all particularly in the seventh étude on chromati- the scale, or sequences of seconds, through with which he pursued these problems makes the notes of a chord with his small hands and cism and the ninth étude on repetitions. Then thirds, fourths and sixths up to octaves. The up the particular quality of the Études. And therefore hit on the idea of striking one key into this unexpected disturbance that moment final étude of the book resumes the scale se- here the extraordinary virtuosity which Debussy with the tip of his nose – that does not solve of discontinuation, of sudden swings steps quences of the first. In the second book, pub- demanded appears less directed outwards the problem and is perhaps only the product of boldly forward. Thirdly and finally, here we can lished six weeks later, the subject matter is than in conventional pieces of bravura. the imagination of an over-eager collector? see compositional thinking on different levels musical problems and special playing tech- The general public and pianists gave the “Our ancient masters – I wish to include – that of fingering and that of the “false” note niques. Livelier études alternate with quieter Études a relatively cool reception. For a long ‘our’ excellent harpsichordists – never pre- – which is a general mark of the Études. It leads ones, following the principle of the manuscript. time performances even of individual études scribed fingering. They relied entirely on the almost automatically to a way of thinking in Only in the last two is this order reversed, com- were rare. For example, Walter Rummel, the inventiveness of their contemporaries. It would different harmonic zonespaces, the confronta- pleting the whole collection with the highly German-American pianist who first performed be impertinent for me to doubt that of today’s tion of which then explicitly forms the theme of effective study of chords.

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