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ISABELLE FRAISSE 3 Moqueries 111 BEETHOVEN Diabelli Variations

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ISABELLE FRAISSE 3 Moqueries 111 BEETHOVEN Diabelli Variations ISABELLE FRAISSE 3 Moqueries 111 BEETHOVEN Diabelli Variations Sonata Op. 111, Various Pieces Partie I CD 1 第一部 （ディスク１） Ludwig van BEETHOVEN (1770-1827) 1 Alla Ingharese quasi un Capriccio, Op. 129 (1795) 06.40 (Rondo a Capriccio) G major · sol majeur · Allegro vivace ロンド•ア•カプリッチョ ト長調 Op.129 (奇想曲的なハンガリー風のロンド) Rage Over a Lost Penny, Vented in a Caprice · Die Wuth über den verlornen Groschen ausgetobt in einer Kaprize · Colère pour un sou perdu déchargée dans un Caprice · 失われた小銭への怒り 2 Bagatelle (Klavierstück), WoO 60 (1818) 01.13 B-flat major · si bémol majeur · Ziemlich lebhaft バガテル 変ロ長調 WoO 60 3 Klavierstück, WoO 61 (1821) 00.29 B minor · si mineur · Allegretto ピアノ小品 ロ短調 WoO 61 4 Bagatelle (Klavierstück), WoO 61a (Hess 56) (1825) 02.18 G minor · sol mineur · Allegro quasi Andante バガテル ト短調 WoO 61a(Hess56) 2 33 Veränderungen über einen Walzer von Diabelli, Op. 120 (1819-1823) (Diabelli Variations · Variations Diabelli) C major · ut majeur ディアベリのワルツの主題による３３の変奏曲 ハ長調 Op.120 (ディアベリ変奏曲） 5 Tema. 主題 Vivace 00.50 6 Var. I. 第１変奏 Alla Marcia maestoso 01.42 7 Var. II. 第２変奏 Poco allegro, leggiermente 00.49 8 Var. III. 第３変奏 L’istesso tempo 01.21 9 Var. IV. 第４変奏 Un poco più vivace 01.01 10 Var. V. 第５変奏 Allegro vivace 01.00 11 Var. VI. 第６変奏 Allegro ma non troppo e serioso 01.39 12 Var. VII. 第７変奏 Un poco più allegro 01.13 13 Var. VIII. 第８変奏 Poco vivace, dolce e teneramente 01.24 14 Var. IX. 第９変奏 Allegro pesante e risoluto 01.34 15 Var. X. 第１０変奏 Presto 00.40 16 Var. XI. 第１１変奏 Allegretto 01.04 17 Var. XII. 第１２変奏 Un poco più moto 00.46 18 Var. XIII. 第１３変奏 Vivace 01.17 19 Var. XIV. 第１４変奏 Grave e maestoso 05.31 20 Var. XV. 第１５変奏 Presto scherzando 00.36 21 Var. XVI. 第１６変奏 Allegro 00.56 22 Var. XVII 第１７変奏 (Allegro) 00.59 23 Var. XVIII. 第１８変奏 Poco moderato 01.38 24 Var. XIX. 第１９変奏 Presto 00.56 25 Var. XX. 第２０変奏 Andante 02.40 26 Var. XXI. 第２１変奏 Allegro con brio – Meno allegro – Tempo primo 01.12 27 Var. XXII. 第２２変奏 Allegro molto alla “Notte e giorno faticar” di Mozart 00.54 28 Var. XXIII. 第２３変奏 Allegro assai 00.55 29 Var. XXIV. 第２４変奏 Fughetta. Andante (una corda, sempre ligato) 03.43 30 Var. XXV. 第２５変奏 Allegro, leggiermente 00.42 31 Var. XXVI. 第２６変奏 (piacevole) 01.03 3 32 Var. XXVII. 第２７変奏 Vivace 00.56 33 Var. XXVIII. 第２８変奏 Allegro 00.59 34 Var. XXIX. 第２９変奏 Adagio ma non troppo 01.30 35 Var. XXX. 第３０変奏 Andante, sempre cantabile (sempre ligato, una corda) 02.25 36 Var. XXXI. 第３１変奏 Largo, molto espressivo (sotto voce, dolce) 04.13 37 Var. XXXII. 第３２変奏 Fuga. Allegro 03.04 38 Var. XXXIII. 第３３変奏 Tempo di Menuetto moderato, ma non tirarsi dietro (grazioso e dolce) 04.25 39 Waltz, WoO 84 (1824) 02.21 E-flat major · mi bémol majeur ワルツ 変ホ長調 WoO 84 Part II · Partie II CD 2 第二部 (ディスク2) Ludwig van BEETHOVEN Bagatelles, Op. 119 (1822) 11 のバガテル Op.119 より 1 II. Andante con moto 00.57 C major · ut majeur · ハ長調 2 III. à l’Allemande 01.39 D major · ré majeur · ニ長調 3 VI. Andante – Allegretto (leichtlich vorgetragen) – L’istesso tempo 01.46 G major · sol majeur · ト長調 4 Isabelle FRAISSE (born 1949) イザベル・フレース 3 Moqueries sur une valse de Diabelli (2015) ディアベリのワルツへの三つのモックリー(からかい) 4 (with the reprise of Thema of Beethoven’s Variations Diabelli) 00.27 5 I. 01.51 6 II. 02.23 7 III. 01.37 – à Yumeto Suenaga – 末永夢人に捧ぐ Ludwig van BEETHOVEN 8 Ecossaise, WoO 86 (1825) 00.30 E-flat major · mi bémol majeur エコセーズ 変ホ長調WoO 86 9 Waltz, WoO 85 (1825) 00.33 D major · ré majeur ワルツ ニ長調WoO 85 5 Bagatelles, Op. 119 (1822) 11 のバガテル Op.119 より 10 IX. Vivace moderato 00.36 A minor · la mineur · イ短調 11 X. Allegramente 00.13 A major · la majeur · イ長調 12 VII. (without tempo indication) 01.07 C major · ut majeur · ハ長調 Große Fuge, Op. 134* (1826) B-flat major · si bémol majeur 大フーガ 変ロ長調 Op.134 13 Ouvertura. Allegro – Meno mosso e moderato – Allegro – Fuga. (Allegro) – 05.04 14 Meno mosso e moderato – Allegro – 02.46 (poco a poco sempre più Allegro ed accelerando il tempo) – 15 Allegro molto e con brio – Allegro – Allegro molto e con brio 07.33 Beethoven’s Arrangement for Piano Four-Hands of String Quartet (Grand Fugue), Op. 133 Transcription pour piano à quatre mains du Quatuor à cordes (Grande Fugue), op. 133, réalisée par Beethoven 弦楽四重奏曲 (大フーガ) Op.133から四手連弾ピアノ曲へのベートーヴェン自身による編曲 *Charles LAVAUD, piano シャルル・ラヴォー、ピアノ 6 Isabelle FRAISSE (born 1949) イザベル・フレース 16 111 (cent onze) (2014) 09.56 Dialogue avec l’Opus 111 de Beethoven. Pour Yumeto Suenaga ベートーヴェンOp.111との対話 末永夢人のために Maestoso – à Ava – アヴァに捧ぐ Ludwig van BEETHOVEN Piano Sonata No. 32, Op. 111 (1820-1822) C minor · ut mineur ピアノソナタ第32番 ハ短調 Op.111 17 I. Maestoso – Allegro con brio ed appassionato 09.38 18 II. Arietta. Adagio molto semplice e cantabile 17.57 Yumeto SUENAGA, piano 末永夢人、ピアノ – Mes remerciements à Charles Lavaud – 7 English LuDWIG shattered into PIECES This two-part album embodies a project that was particularly dear to me, the attempt to highlight the final creative period of Beethoven, a territory in its own right as well as on the fringes of music history; a journey of constant challenges, where each step surprises and even disturbs. The compositions are often complex, sometimes enigmatic and at the same time disturbingly immediate, surprisingly close to us and our time. These final thoughts form a striking kaleidoscope, both the synthesis and the completion of the composer’s art. Ludwig I wanted to bring together, in addition to the major works, some pieces with mysterious outlines that he did not necessarily intended for posterity (the Klavierstücke, Valses, Bagatelles and an Ecossaise). He liked to call them, and not without a certain tenderness, his “Kleinigkeiten” (little things). Here we discover a Ludwig who would take leave for a time of Beethoven, impromptu inspiration or fortuitous grace revealing a little-known aspect of his late genius. *Transformations The first part leads to the Veränderungen* über einen Walzer von Diabelli – or more commonly Diabelli Variations – an almost cosmic journey in thirty-three variations spread over almost an hour, a masterpiece filled with paradoxes, with testamentary traits that Alfred Brendel described as “the greatest of all piano works”. The dedicatee, Antonia Brentano, could be – presumptions and substantiated clues lead us to think – the mysterious “distant beloved” or “beloved immortal”. A little bit of history: Anton Diabelli (a famous composer and publisher of his time) had submitted his waltz theme to about fifty composers – including Schubert, Czerny, Hummel – asking each of them to compose a variation (Liszt composed his own variation at the age of eleven). A compilation of these variations was intended to collect funds for orphans and widows of the Napoleonic wars. One day, at Diabelli’s impatient request, Beethoven is said to have retorted: 8 - How many variations have you already received? - “Thirty-two”, Diabelli replied. - I will then compose thirty-three of them, he concluded... As I turned twenty years old, I heard the Diabelli for the first time, without really understanding them. However, I still remember the intense and inexpressible effect they had on me. The years that followed were like a game of hide-and-seek until I finally decided to work on them. The unity of the work and its singular dimension finally appeared to me one day when I played them in public, as a live revelation of this strange journey that makes such great demands on the listener and the performer. Beyond the precise and fascinating aspect of their construction, the Diabelli sweep the field of the “all at the same time in every direction” concealing many levels of reading and perception: countless characters as so many facets of a self-portrait, the dimension of the four elements, games on horizontal temporality as well as on immediate temporality, stretched out, blurring our customary points of reference; microcosms and immensity as a foreboding of the atomic world... One could say that the theme of Diabelli is only a pretext, it will be broken down into its smallest cells, which will, with a sometimes terrible irony, be twisted, shaken and scattered in all directions: the most scathing humor (variation 22), a troubling premonition of Brahms (variation 8), of jazz (variation 15), of Chopin (variation 31), tributes to J. S. Bach (variation 24) or to Mozart (variation 33), wonders of contemplation, transfigure music, verbs and poetry; as many windows open on the future centuries... A face-pulling competition? A preamble to this musical meteor, the Rondo-caprice “Anger about a lost penny”, constantly traversed by hilarious self-mockery and numerous comic effects, recalls Haydn; a delightful illustration of humor in music published posthumously by Diabelli. An exception in this program, this rondo is considered, despite its high opus number, to be contemporary to the first sonatas. However, a closer look at the score reveals that some of the modulations or writing techniques used will not be found until a few decades later in scores such as the Trio Op. 97 “Archiduc” or the Piano Sonata Op. 106 “Hammerklavier”. 9 Interlude The three Klavierstücke that will make the link with the Diabelli are miniatures with unfathomable poetry that stand out through their appearance of improvisation, their sketchy tone; unclassifiable pieces, like a music of doubt. Culmination Of unspeakable and immaterial beauty, this short waltz dating from 1824 leaves us in suspense: a little music where the dances composed long ago in his early years seem to be reflected, as in a game of mirrors.
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