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Louis Spohr, Autoportrait - DR Louis Spohr, autoportrait - DR 2 SPOHR - SECHS DEUTSCHE LIEDER OP.103, N° 6 (1837) Wach auf Awaken! Was stehst du lange und sinnest nach? Ach schon so lange ist Liebe wach! Hörst du das Klingen allüberall? Die Vöglein singen mit süßem Schall; Aus Starrem sprießet Baumblättlein weich, Das Leben fl ießet um Ast und Zweig. Das Tröpfl ein schlüpfet aus Waldesschacht, Das Bächlein hüpfet mit Wallungsmacht; Der Himmel neiget in’s Wellenklar, Die Bläue zeiget sich wunderbar, Ein heitres Schwingen zu Form und Klang, Ein ew‘ges Fügen im ew’gen Drang! La traduction du poème se trouve page 13. The translation of the poem is on page 27. 3 LOUIS SPOHR (1784-1859) CD 1 Concerto pour clarinette et orchestre n° 1 en ut majeur Op. 26 1 Adagio Allegro 10’13’’ 2 Adagio 03’01’’ 3 Rondo Vivace 05’01’’ Concerto pour clarinette et orchestre n° 2 en mi bémol majeur Op. 57 1 Allegro 10’38’’ 2 Adagio 04’57’’ 3 Rondo alla polacca 07’48’’ On this recording Paul Meyer plays a prototype Buffet-Crampon ‘Divine’ clarinet in B fl at, serial no 11500920101, and a prototype Buffet-Crampon ‘Divine’ clarinet in A, serial no 12500120091, with a Vandoren 5rv mouthpiece and Vandoren V.12 3.5+ and 4 reeds. Paul Meyer wishes to thank Cyrille Mercadier for adjusting the instruments. 4 CD 2 Concerto pour clarinette et orchestre n° 3 en fa mineur WoO 19 1 Allegro moderato 09’56’’ 2 Adagio 07’20’’ 3 Vivace non troppo 07’14’’ Concerto pour clarinette et orchestre n° 4 en mi mineur WoO 20 1 Allegro vivace 13’20’’ 2 Larghetto 03’47’’ 3 Rondo al espagnol 08’03’’ Paul Meyer a joué pour cet enregistrement la clarinette en si bémol Buffet-Crampon Prototype Divine n°11500920101 et la clarinette en la Buffet-Crampon Prototype Divine n°12500120091, avec un bec 5RV Vandoren et des anches Vandoren V.12 No 3,5+ et les traditionnelles No 4. Paul Meyer remercie également Cyrille Mercadier pour le réglage de ses instruments. 5 PAUL MEYER, clarinette et direction ORCHESTRE DE CHAMBRE DE LAUSANNE Violons I Violoncelles Gyula Stuller, premier violon solo Joël Marosi, premier solo Julie Lafontaine, deuxième solo Catherine Marie Tunnell, des premiers violons deuxième solo Delia Bugarin, Alejandra Cova*, Pascal Michel*, Philippe Schiltknecht Alexander Grytsayenko, Stéphanie Joseph, Piotr Kajdasz, Contrebasses Janet E. Loerkens Sebastian Schick, deuxième solo Ricardo Delgado* Violons II Oleg Kaskiv* Flûtes Gàbor Barta, Felix Froschammer*, Jean-Luc Sperissen, premier solo Edouard Jaccottet, Alexandre Anne Moreau, deuxième solo Orban, Catherine Suter Gerhard Hautbois Altos Beat Anderwert, premier solo Eli Karanfi lova, premier solo Markus Haeberling, deuxième solo Nicolas Pache, deuxième solo Johannes Rose, Karl Wingerter Clarinettes Davide Bandieri, premier solo Curzio Petraglio, deuxième solo 6 Bassons Trombone Dagmar Eise, premier solo Jean-Sébastien Scotton* François Dinkel, deuxième solo Timbales Cors Arnaud Stachnick, premier solo Iván Ortiz Motos, premier solo Andrea Zardini, deuxième solo * Musiciens non titulaires Trompettes Marc-Olivier Broillet, premier solo Nicolas Bernard, deuxième solo Enregistré du 4 au 6 janvier 2012 à la Salle Métropole (Lausanne, Suisse) Prise de son & mastering Hugues Deschaux Direction artistique & montage Aline Blondiau Directeur administratif de l’Orchestre de Chambre de Lausanne Benoît Braescu Régisseur d’orchestre André Goy Photos digipacks & Directeur de production Julien Dubois Photo couverture portrait de Louis Spohr, 1845, DR 7 © CORINNE SPORRER 8 L’ORCHESTRE DE CHAMBRE DE LAUSANNE (OCL) Fondé en 1942 par Victor Desarzens, l’Orchestre de Chambre de Lausanne fait rayonner loin à la ronde le nom de sa cité d’élection. Formation de type «Mannheim», il donne de nombreux concerts chaque année sous la direction artistique de Christian Zacharias. En résidence à la Salle Métropole de Lausanne, il est l’hôte régulier des grandes salles de Suisse, notamment lors de la tournée annuelle que produit Espace 2, partenaire privilégié depuis ses débuts. L’OCL est fréquemment appelé à l’étranger: on peut l’entendre dans des salles telles que le Théâtre des Champs-Elysées, l’Alte Oper de Francfort, le Musikverein de Vienne et le Teatro Colón de Buenos Aires, et lors de festivals comme les BBC Proms de Londres, le Festival d’Edimbourg ou les Folles Journées de Nantes et de Tokyo. Au cours de son histoire, l’Orchestre de Chambre de Lausanne a vu passer à son pupitre de grandes fi gures du monde musical: Ernest Ansermet, Günter Wand, Paul Hindemith, Frank Martin, Neeme Järvi, Jeffrey Tate, Heinz Holliger, Bertrand de Billy… Depuis plu- sieurs années, il collabore volontiers avec des spécialistes du répertoire ancien tels que Ton Koopman, Roger Norrington et Fabio Biondi. En près de septante ans d’existence, il n’a connu que cinq directeurs artistiques: Victor Desarzens (1942-1973), Armin Jordan (1973-1985), Lawrence Foster (1985-1990), Jesús López Cobos (1990-2000) et Christian Zacharias (depuis 2000). Partenaire de l’Opéra de Lausanne, il se produit en fosse plu- sieurs fois par saison. Soucieux de sa mission de service public et du renouvellement de son auditoire, l’OCL pro- pose chaque saison plusieurs concerts «Découvertes» à destination des familles et des écoles. Il est aussi le premier orchestre suisse à engager, tous les deux ans, un composi- teur en résidence. Fort d’une discographie de plus de 250 titres, il collabore depuis l’arri- 9 vée de Christian Zacharias notamment avec le label allemand MDG. Ses enregistrements des concertos pour piano de Mozart lui valent les éloges de la presse internationale. L’OCL est subventionné par la Ville de Lausanne et le Canton de Vaud, et fait partie de l’Association suisse des orchestres professionnels (ASOP). La plupart de ses concerts sont enregistrés par Espace 2 et mis à la disposition du public en écoute à la demande sur www.espace2.ch. www.ocl.ch 10 THE ORCHESTRE DE CHAMBRE DE LAUSANNE (OCL) Founded in 1942 by Victor Desarzens, the Orchestre de Chambre de Lausanne has earned international renown for the city of Lausanne. The ensemble, a “Mannheim” formation, performs some 100 concerts a year under the artistic direction of Christian Zacharias. In residence at the Salle Métropole in Lausanne, the orchestra performs regularly at major concert halls throughout Switzerland, most notably on its yearly concert tour produced by Espace 2, the ensemble’s privileged partner since its beginning. The OCL also performs frequently abroad, such as at the Théâtre des Champs-Elysées, the Alte Oper in Frankfort, the Musikverein in Vienna and the Teatro Colón in Buenos Aires, as well as at festivals such as the BBC Proms in London, the International Festival in Edinburgh or the Folles Journées in Nantes and in Tokyo. The Orchestre de Chambre de Lausanne has been conducted by some of the greatest conductors: Ernest Ansermet, Günter Wand, Paul Hindemith, Frank Martin, Neeme Jär- vi, Jeffrey Tate, Heinz Holliger, Bertrand de Billy… It has collaborated with early music specialists such as Ton Koopman, Roger Norrington and Fabio Biondi for a number of years. During the course of its nearly 70 years of existence, the orchestra has been led by only fi ve artistic directors: Victor Desarzens (1942-1973), Armin Jordan (1973-1985), Lawrence Foster (1985-1990), Jesús López Cobos (1990-2000) and Christian Zacharias (since 2000). In collaboration with the Lausanne Opera it also regularly performs in the orchestra pit every concert season. As part of its mission to serve the public and attract young listeners, the orchestra offers a number of “discovery” concerts for families and schools every concert season. The OCL is also the fi rst Swiss orchestra to engage a composer in residence (every two years). The 11 ensemble has made over 250 recordings; since the arrival of Christian Zacharias it has collaborated with the German label MDG among others. Its recordings of Mozart’s piano concertos in particular have earned international praise from the press. The OCL is subsidized by the city of Lausanne and the canton of Vaud and is a member of the Association of Professional Swiss Orchestras (ASOP). The majority of its concerts are recorded by Espace 2 and made available to the public for listening on request at its website www.espace2.ch. www.ocl.ch 12 SPOHR - SECHS DEUTSCHE LIEDER OP.103, N° 6 (1837) Éveille-toi ! Pourquoi donc restes-tu si longtemps là à ruminer ? Ah ! l’amour est déjà éveillé depuis si longtemps ! Entends-tu comme il résonne partout à l’entour ? Les oiseaux chantent avec des notes si douces. Les tendres feuilles percent les branches tendues Et la vie coule dans toute la ramure. Des gouttelettes circulent depuis les creux de la forêt, Le ruisseau danse avec force remous. Le ciel embrasse les eaux transparentes, L’azur révèle ses merveilles, De brillants éclats de formes et de sons, Une réponse sans fi n à d’infi nies pulsions ! TRADUCTION MARY PARDOE 13 SPOHR, LE MAÎTRE OUBLIÉ « Maintenant que Mendelssohn est décédé, Spohr détient le titre de pre- mier compositeur de son temps, sans rival possible. Aucun maître n’a plus contribué à faire avancer l’art de la composition, et puisqu’il a produit des chefs-d’œuvre dans chaque style, son génie peut être qualifi é d’universel ». PHILHARMONIC SOCIETY, Londres, le 6 mai 18481 Le compositeur Louis Spohr (1784-1859), fut aussi un violoniste virtuose, peut-être le plus grand chef d’orchestre de son temps et un pédagogue renommé. Il joua un rôle de pre- mier plan dans la vie musicale allemande du XIXe siècle. Ses œuvres portent la marque du classicisme viennois, mais ses recherches harmoniques annoncent la période romantique. « Entre la mort de Beethoven et la consécration de Wagner, Spohr a été le compositeur allemand le plus connu en Europe, considéré par nombre de ses contemporains comme le plus grand de son temps »1.
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