Beethoven Bridge Chin Esmé Quartet

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Beethoven Bridge Chin Esmé Quartet BEETHOVEN BRIDGE CHIN ESMÉ QUARTET TO BE LOVED MENU › TRACKLIST › TEXTE FRANÇAIS › ENGLISH TEXT › DEUTSCH KOMMENTAR LUDWIG VAN BEETHOVEN (1770-1827) STRING QUARTET OP.18 NO.1 IN F MAJOR 1. I. ALLEGRO CON BRIO 9’25 2. II. ADAGIO AFFETTUOSO ED APPASSIONATO 8’27 3. III. SCHERZO. ALLEGRO MOLTO 3’31 4. IV. ALLEGRO 6’53 UNSUK CHIN (*1961) PARAMETASTRING FOR STRINGS QUARTET AND TAPE WORLD PREMIERE RECORDING 5. I. ALLEGRO 4’55 6. II. ANDANTE 4’40 7. III. ANDANTINO 5’41 8. IV. MODERATO – ALLEGRO 5’43 FRANK BRIDGE (1879-1941) NOVELLETTEN, H.44 9. I. ANDANTE MODERATO 5’07 10. II. PRESTO. ALLEGRETTO 3’07 11. III. ALLEGRO VIVO 5’13 TOTAL TIME: 62’50 › MENU ESMÉ QUARTET WONHEE BAE VIOLIN I YUNA HA VIOLIN II JIWON KIM VIOLA YEEUN HEO CELLO › MENU QUATUORS, OPUS 1 PAR LUCA DUPONT-SPIRIO Plus libres que les doigts du pianiste, les instruments du quatuor peuvent tout. Leurs voix virtuoses, lyriques, se mêlent ou se distinguent à l’envi. Pas une nuance d’intonation, d’intensité, de timbre qui leur échappe dans le jeu infi ni des textures. Au compositeur, aux interprètes, ils ouvrent un monde aussi riche qu’impressionnant. Pour cet album inaugural, les musiciennes du Quatuor Esmé suivent trois auteurs dans leurs premières œuvres à seize cordes. Fraîcheur et audace donc, sur la page comme au pupitre. Quand Beethoven arrive à Vienne, l’année de ses 22 ans, le quatuor possède déjà une histoire. Depuis le milieu du XVIIIe siècle, bourgeois et aristocrates s’y livrent en amateurs. Aux seconds, les musiciens dédicacent leurs opus, qu’achètent en nombre les premiers. Ainsi se négocient les protections, et les revenus. La fi gure du créateur indépendant qu’imposera Beethoven lui-même – non sans quelque ambiguïté – n’existe pas encore. Pour l’heure, le jeune homme vient se former auprès de Haydn, père adulé de la musique « classique » et singulièrement du quatuor, dont il a révélé le potentiel dans une soixantaine d’œuvres. D’abord cordiales, les relations entre maître et élève se tendent au fi l des ans, au-delà des leçons elles-mêmes que le cadet jugera superfi cielles, voire malveillantes – l’aîné lui reprochera son entêtement. Les malentendus nourrissent une jalousie mutuelle, l’éclat de Beethoven devant bientôt dissiper l’ombre que Haydn jette encore sur lui. Le nom du professeur ouvre du moins à l’étudiant – qui possède ses propres entrées – les salons de la noblesse viennoise. Celle-ci, la plus mélomane d’Europe, s’adonne elle-même à la musique, entretient parfois des orchestres et des compagnies d’opéra, ou tout au moins… un quatuor à cordes. Le jeune virtuose brille d’abord au piano, souvent par ses improvisations. On lui offre tantôt un logement, tantôt du matériel, qui soulagent ses maigres fi nances. En quelques années, Beethoven envoûte la capitale, triomphe à Prague, 6 › MENU Berlin et Bratislava, publie plusieurs trios et sonates. Il abandonne toutefois une symphonie FRANÇAIS esquissée en réponse à celles de Haydn, et contourne le quatuor. Ce dernier genre occupe toujours le sexagénaire qui publie en 1797 un nouvel opus, aussi génial que les précédents. L’année suivante, l’ambitieux disciple se met au travail. Sa méthode change : lui qui notait ses brouillons sur des feuilles libres noircit désormais des cahiers. À son ami Karl Amenda, apprenti théologien et violoniste amateur, il offre un manuscrit en cadeau d’adieu, qui deviendra le premier des Six quatuors opus 18 – bien que le troisième semble écrit plus tôt. L’œuvre se voit révisée pour la publication en 1801, dédiée au prince Lobkowitz. Celui-ci, également mécène de Haydn, recevra plus tard en dédicace trois symphonies de Beethoven : l’Héroïque, la cinquième et la Pastorale. Amenda, qui a instruit les enfants du prince et doit devenir pasteur en Lettonie, commente l’adagio de « son » quatuor : « Il m’évoque deux amis sur le point de se séparer – Bien, répond le compositeur, je me suis représenté la scène au tombeau de Roméo et Juliette. » Le pathos du mouvement, la fi èvre des trois autres bousculent subtilement un classicisme dont Beethoven conquiert le genre suprême. Dixième enfant – sur douze – d’un imprimeur devenu professeur de violon, Frank Bridge apprend cet instrument dans sa ville natale de Brighton. Bientôt boursier au Royal College of Music, dans la capitale britannique, il y étudie la composition auprès du redoutable Charles Villiers Stanford. Contrairement à ses contemporains Bax et Vaughan Williams, le jeune diplômé doit gagner sa vie. Il se convertit à l’alto, qui compte peu de virtuoses à l’époque – le travail ne manque donc pas. En 1906, il remplace Emanuel Wirth dans le quatuor formé par l’illustre Joseph Joachim – violoniste majeur du romantisme après Paganini. Il rejoindra plus tard l’English String Quartet, parallèlement à une prestigieuse carrière de chef d’orchestre. Son élève Benjamin Britten lui rendra hommage dans ses Variations sur un thème de Frank Bridge. Écrites dans sa vingt-cinquième année, les trois Novelletten au titre schumannien forment son premier opus pour quatuor – si l’on excepte un essai d’étudiant. Leur lyrisme aérien, coloré, refl ète l’infl uence française – fauréenne ? – en même temps que le goût des salons – les pièces devaient séduire les amateurs. On sent déjà 7 une personnalité à l’œuvre dans la rêverie de l’Andante, la danse mélancolique du Presto, l’envol conquérant de l’Allegro vivo. Débuts printaniers, à mille lieues des noirceurs qu’inspirera au musicien pacifi ste le passage de la Grande Guerre. Élève de György Ligeti, Unsuk Chin revendique à ce jour un seul quatuor à cordes, ParaMetaStrings, créé en 1996 par le Kronos Quartet. La compositrice coréenne mêle les interprètes à des sons pré-enregistrés de violon et de violoncelle, traités numériquement. Instruments réels et virtuels se fondent, s’opposent ou se répondent dans différents discours sonores. Le premier mouvement lance des trémolos convulsifs, accélérés sur ordinateur pour la partie électronique. Le son paraît fi ltrer d’un pôle à l’autre, des accents incisifs créant une structure rythmique. La pièce suivante déploie une trame moins saturée, contemplative. Une note fondamentale, frappée rituellement par le bois de l’archet sur le violoncelle, suscite les émergences harmoniques des autres instruments, hantées par les sons de synthèse. Le troisième mouvement sculpte par le silence une matière en doubles cordes et glissandi, le quatrième amène par éclats la conclusion du premier. Le développement organique de chaque morceau forme la signature d’Unsuk Chin, présente notamment dans ses nombreuses œuvres pour orchestre, jouées dans le monde entier par les plus grandes phalanges. 8 ESMÉ QUARTET FRANÇAIS L’ensemble emprunte son nom à un mot d’ancien français qui signifi e « estimé ». Loué pour sa sonorité chaleureuse et sa forte présence scénique, le Esmé Quartet a été fondé en 2016 à la Hochschule für Musik de Cologne, en Allemagne, par quatre musiciennes coréennes qui sont des amies d’enfance et partagent les mêmes centres d’intérêt et passions, que ce soit dans la musique, dans les arts ou dans la vie. L’Esmé Quartet réunit quatre personnalités musicales fortes et brillantes, issues du même milieu, qui forment aujourd’hui un ensemble cohérent et très soudé, passionnément dévoué au répertoire du quatuor à cordes. Basé en Allemagne, le quatuor s’est rapidement bâti une réputation internationale d’ensemble de chambre exceptionnellement prometteur. Au printemps 2018, le quatuor a remporté le premier prix et quatre prix spéciaux au prestigieux Concours international de quatuor à cordes du Wigmore Hall de Londres, devenant la même année Lauréat de l’Académie du Festival d’Aix. Cette reconnaissance a suivi des prix au Concours international de musique de chambre de Trondheim, au Concours de quatuor à cordes Irene Steels-Wilsing et au cinquante-cinquième Possehl-Musikpreis de Lübeck. L’ensemble s’est récemment produit au Festival de Lucerne, au Wigmore Hall et à travers le Royaume- Uni, au Festival Flagey Musiq3 de Bruxelles, à l’Auditorium Lotte de Séoul et comme quatuor en résidence au Festival d’Aix-en-Provence 2018, à l’Académie internationale de quatuor à cordes McGill 2018 à Montréal, au Festival de quatuor à cordes de Heidelberg et à Classic Esterházy à Eisenstadt. Le quatuor a suivi des master classes avec des artistes comme Günter Pichler (Quatuor Alban Berg), Eberhard Feltz, Andra ´s Keller, Christoph Poppen et Jonathan Brown (Cuarteto Casals). Esmé travaille actuellement sous la tutelle de Heime Müller (Quatuor Artemis). 9 › MENU Esmé Quartet FRANÇAIS Esmé Quartet & Unsuk Chin QUARTETS, OPUS 1 BY LUCA DUPONT-SPIRIO Freer even than a pianist’s fi ngers, the instruments of the string quartet can do almost anything. Their lyrical, virtuoso voices can unite together, or set themselves individually apart. No nuance of intonation, intensity or tonal shading is missing from the infi nite play of textures. For a composer, for the performers, the four instruments open up a world as extensive as it is impressive. For this inaugural album, the musicians of the Esmé Quartet focus on three composers writing their fi rst works for quartet – here we have youthful energy and innovation from both creators and interpreters alike. By the time Beethoven arrived in Vienna at the age of 22, the quartet was already well established. Since the mid-18th century, keen amateurs from both the middle-class and the aristocracy had been playing quartets. Composers dedicated their work to the latter, while large numbers of the former purchased their music. This enabled rights to be negotiated, and revenues earned. The fi gure of the composer as an independent creative, the career Beethoven would choose for himself (rather ambivalently) did not yet exist.
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