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Cornelius Meister JEUDI 31 OCTOBRE 2019 20H ©Marco Borggreve 1 OTTO NICOLAI Les Joyeuses Commères de Windsor (Ouverture) (9 minutes environ) FELIX MENDELSSOHN Concerto pour piano et orchestre no1 en sol mineur opus 25 1. Molto allegro con fuoco 2. Andante 3. Presto – Molto allegro e vivace (20 minutes environ) - Entracte - ANTON BRUCKNER Symphonie no3 en ré mineur (version Nowak de 1889) 1. Gemässig, Misterioso (modéré, mystérieux) 2. Adagio, Feierlich (solennel) 3. Scherzo : Ziemlich schnell (assez rapide) 4. Finale : Allegro (60 minutes environ) DENIS KOZHUKIN piano ORCHESTRE NATIONAL DE FRANCE Sarah Nemtanu violon solo Ce concert est diffusé en direct sur France Musique et disponible à l'écoute CORNELIUS MEISTER direction pendant un mois sur francemusique.fr Ce programme est présenté par Benjamin François de France Musique. 3 2 OTTO NICOLAI 1810-1849 Après avoir cofondé l’Orchestre philharmonique de Vienne dont il dirigea le concert inaugural en 1842, Nicolai termina sa courte carrière à Berlin où Les Joyeuses Commères de Windsor (Ouverture) il succéda en 1848 au défunt Felix Mendelssohn à la tête de l’orchestre de Opéra composé en 1849. Créé le 9 mars 1849 à par l’orchestre de l’Opéra royal (Hofoper) de Berlin dirigé l’Opéra royal. C’est là qu’il présenta ses Joyeuses commères de Windsor, par le compositeur. Nomenclature : 2 flûtes dont 1 piccolo, 2 hautbois, 2 clarinettes, 2 bassons ; 4 cors, 2 un singspiel mêlant chant et textes parlés, qu’il qualifia de « komisch-fan- trompettes, 3 trombones ; timbales ; les cordes. tastische Oper », et qu’il créa le 9 mars 1849, deux mois avant sa mort. Adapté au cinéma en RDA en 1950, puis en Autriche en 1965, l’œuvre est restée à l’affiche jusqu’à nos jours dans les pays germaniques, mais son « To shallow rivers, to whose falls melodious birds sings madrigals; there will ouverture en a dépassé les frontières. En 1953, le compositeur, pianiste et we make our peds of roses, and a thousand fragrant posies » (« Près des chef d’orchestre Johnny Green réalisa un documentaire récompensé d’un sources peu profondes dont la chute inspire des madrigaux aux mélodieux Oscar, dans lequel il dirige cette noble et virevoltante ouverture de Nicolai, oiseaux, nous ferons nos lits de roses et mille guirlandes odorantes »). Comme avec l’orchestre de la MGM. dans nombre de ses pièces, Shakespeare fait ainsi chanter un de ses per- sonnages, en l'occurence le curé gallois Sir Hugh Evans, dans la comédie François-Xavier Szymczak The Merry Wives of Windsor. Reprenant approximativement un poème de Christopher Marlowe, Evans mêle ici les sons de la musique à ceux de la nature, annonçant les nombreuses œuvres lyriques inspirées de ces Joyeuses Commères de Windsor. En 1799, c’est Antonio Salieri qui présenta sur le sujet le premier opéra, dont le librettiste prit pour titre le nom du héros Falstaff. Beethoven utilisera l’air « La stessa, la stessissima » de cette partition pour une série de variations pianis- tiques. Après un modeste Falstaff de l’Irlandais Michael William Balfe présenté à Londres en 1838, et avant le génial Falstaff de Verdi sur un livret de Boito, le très attachant opéra Sir John in love de Vaughan Williams ou l’étude symphonique Falstaff d’Elgar, c’est le compositeur prussien Otto Nicolai qui donna en 1849 CES ANNÉES-LÀ : une des plus belles versions musicales de cette pièce. 1847 : guerre civile suisse du Sonderbund. Naissance de Graham Bell, Jesse Nicolai vit le jour en 1810, comme Chopin et Schumann, à Königsberg, James et Bram Stoker. Mort de Fanny et de Felix Mendelssohn. l’actuelle Kaliningrad dont Emmanuel Kant fut le plus célèbre habitant. Enfant 1848 : Printemps des peuples : mouvements révolutionnaires de Paris à prodige formé par son père musicien, il fit une (véritable) fugue pour échap- Bucarest et de Berlin à la Sicile. Publication du Manifeste du Parti communiste per à son morne foyer familial, et s’installa à Berlin en 1827 pour y recevoir de Marx et Engels. Naissance de Duparc, Huysmans et Gauguin. Décès de l’enseignement de Carl Friedrich Zelter, conseiller musical et ami de Goethe. Donizetti, Chateaubriand et Emily Brontë. 1849 : dissolution de la première assemblée élue d’Allemagne, le Parlement Organiste de l’Ambassade de Prusse à Rome, Nicolai refusa de mettre en de Francfort. Création du Requiem de Bruckner à l’Abbaye de Saint-Florian. musique pour la Scala de Milan le livret de Nabucco qui fut transmis à Ver- Mort de Johann Strauss père, Edgar Poe et Chopin. di. Le four d’une de ses œuvres à la Scala l’incita à s’installer à Vienne, où Berlioz le salua en ces termes : « L’éminent artiste Nicolai. (...) Je le regarde POUR ALLER PLUS LOIN : comme un des plus excellents chefs d’orchestre que j’aie jamais rencontrés, et comme un de ces hommes dont l’influence suffit à donner une supériorité - William Shakespeare, Les Joyeuses Commères de Windsor (vers 1597- musicale évidente à la ville qu’ils habitent. (...) C’est un compositeur savant, 1602), version bilingue anglais-français, Les Belles Lettres, 2005. exercé, et susceptible d’enthousiasme.» - Christian Merlin, Le Philharmonique de Vienne, biographie d’un orchestre, Buchet-Chastel, 2017. 5 4 FELIX MENDELSSOHN 1809-1847 à Rome, le concerto commence par un Molto allegro con fuoco qui semble autant contenir le feu de la passion que celui du soleil méridional. Dans o Concerto pour piano et orchestre n 1 l’esprit de certains Lieder ohne Worte (titre qu’on traduit par « Romances Composé en Italie en 1831. Créé à Munich le 17 septembre 1831 par le compositeur au piano. Dédié à sans paroles »), le second mouvement, Andante, a la particularité de faire Delphine von Schauroth. Nomenclature : piano solo ; 2 flûtes, 2 hautbois, 2 clarinettes, 2 bassons ; 2 cors, chanter la ligne mélodique par les altos et les violoncelles, comme dans 2 trompettes ; timbales ; les cordes. l’opéra Uthal (1806) de Méhul. Les mouvements s’enchaînant avec une fanfare qui aurait pu être le fameux passage écrit par Delphine von Schau- roth, c’est dans le final Presto( – Molto allegro e vivace) que Mendelssohn C’est en 1825 à Paris que Mendelssohn rencontra pour la première fois déploie sa flamboyante virtuosité. la pianiste virtuose Delphine von Schauroth (1813-1887), élève d’un maître que vénérait Chopin, Friedrich Kalkbrenner, et au sujet de laquelle Berlioz, dans la dix-septième de ses Soirées de l’orchestre, décrit un Stendhal écrivit : « Elle joue du piano à neuf ans comme [Jan Ladislas] concours loufoque dont l’œuvre imposée est ce Concerto en sol mineur de Dussek à quarante.» Lorsque Felix la retrouva cinq années plus tard à Mendelssohn, joué plus de trente fois sur un piano Érard qui en devient Munich, Delphine était devenue une ravissante jeune femme dont il tomba fou, et finit par jouer la partition tout seul, sans l’aide d’un pianiste. Le cé- éperdument amoureux et qu’il voulut épouser. Il lui dédia plusieurs par- lèbre fabricant, la mort dans l’âme, doit alors détruire son instrument pour titions, comme la Gondole vénitienne opus 19 n°6 de 1830, et l’année faire cesser le sortilège… suivante son Premier Concerto pour piano et orchestre, dont il affirma à sa sœur Fanny qu’un des passages était de la main de Delphine, « et pro- F-X. S. duit un effet saisissant ». Si le passage en question n’a pas été clairement identifié, il va de soi que cette partition exaltée porte les traces de ce coup de foudre pour celle que Mendelssohn décrit comme « mince, blonde, aux yeux bleus, avec des mains blanches et, en quelque sorte, aristocratiques […] C’est une artiste, et très cultivée, que tout le monde adore. Ministres et comtes trottent autour d’elle comme des animaux domestiques dans un CES ANNÉES-LÀ : poulailler. » 1829 : Mendelssohn ressuscite la Passion selon saint Matthieu de Bach. Création à Paris du Guillaume Tell de Rossini. Mort de François-Joseph Delphine épousera finalement un pasteur anglais, mais pour le composi- Gossec. teur « elle devait dire au revoir à son mari comme une souris blanche à 1830 : début de la conquête française de l’Algérie. Création de la Sym- côté d’un chat noir ». En effet, elle se séparera de cet époux quatre ans phonie fantastique de Berlioz dans la salle des concerts du Conservatoire plus tard pour retourner vivre auprès de sa mère à Munich. La carrière de Paris. Création à la Comédie française d’Hernani de Victor Hugo et de Delphine se poursuivit, saluée avec quelque condescendance dans les célèbre « bataille ». Révolution des Trois Glorieuses en France, révolution critiques de Robert Schumann, et deux autres mariages se solderont égale- belge et insurrection de Varsovie. ment par des échecs. En 1837, Mendelssohn épousa la Lyonnaise Cécile 1831 : Écrasement de l’insurrection polonaise par la Russie. Chopin Jeanrenaud, et le gracieux visage de Delphine fut immortalisé deux ans s’installe à Paris. Création de La sonnambula et de Norma de Bellini à la plus tard par le beau-frère de Felix, le peintre Wilhelm Hensel, époux de Scala de Milan. Création de Robert le diable de Meyerbeer à Paris. Fanny Mendelssohn, qui s’était prise d’affection pour elle. En 1870, après avoir interprété de nombreuses fois « son » concerto, Delphine consacra l’un de ses derniers concerts à la musique de Felix, et certaines de ses POUR ALLER PLUS LOIN : partitions témoignent de son affection pour lui, comme une très mendels- - Brigitte François-Sappey, Felix Mendelssohn, la lumière de son temps, sohnienne Romance sans parole pour piano seul intitulée « Venezia ». Fayard, 2008. - Brigitte François-Sappey, Felix Mendelssohn, Fayard/Mirare, 2003. Composé en trois jours seulement à Munich, à partir d’esquisses conçues - Jérôme Bastianelli, Felix Mendelssohn, Actes Sud/Classica, 2008.
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    UNIVERSIDADE DO ESTADO DE SANTA CATARINA - UDESC CENTRO DE ARTES - CEART CURSO DE PÓS-GRADUAÇÃO EM MÚSICA - PPGMUS MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT FLORIANÓPOLIS, SC ANO 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós- graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Orientador: Acácio Tadeu de Camargo Piedade FLORIANÓPOLIS, SC 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós-graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Banca Examinadora Orientador: _____________________________________ Prof. Dr. Acácio Tadeu de Camargo Piedade UDESC Membro: _____________________________________ Prof. Dr. Marcos Tadeu Holler UDESC Membro: _____________________________________ Prof. Dr. Gilson Antunes UFPB Florianópolis, SC, 02/04/2013 AGRADECIMENTOS Ao Prof. Dr. Acácio Piedade pelo ensino atencioso e objetivo, e pelos preclaros conselhos que em todo momento impediram digressões tanto desnecessárias quanto prejudiciais. Ao Prof. Dr. Marcos Holler, sem cuja ajuda e conselho teria sido impossível sequer pensar em um mestrado, também pelos ensinamentos e pela dedicação de seu tempo na contribuição com precioso material de consulta para este trabalho. Ao Prof. Dr. Gilson Antunes, pelo interesse nesta pesquisa e sua generosa contribuição com valioso material de consulta. Agradeço especialmente ao Prof. Pedro Martelli, quem acreditou neste projeto ainda antes de ter algum elemento concreto, e cuja confiança e amizade estimularam meus melhores esforços.
  • Copyright by Kirk Michael Rich November 2018

    Copyright by Kirk Michael Rich November 2018

    Copyright by Kirk Michael Rich November 2018 TO LIFT OR NOT TO LIFT: SLURS AND ARTICULATION IN MENDELSSOHN’S ORGAN WORKS _______________ A Document Presented to the Faculty of the Moores School of Music Kathrine G. McGovern College of the Arts University of Houston _______________ In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts _______________ by Kirk Michael Rich November 2018 TO LIFT OR NOT TO LIFT: SLURS AND ARTICULATION IN MENDELSSOHN’S ORGAN WORKS _________________________ Kirk Michael Rich APPROVED: _________________________ Matthew Dirst, Ph.D. Committee Chair _________________________ Paul Bertagnolli, Ph.D. _________________________ Jeffrey Sposato, Ph.D. _________________________ David Breitman, D.M.A. Oberlin College Conservatory _________________________ Andrew Davis, Ph.D. Dean, Kathrine G. McGovern College of the Arts TO LIFT OR NOT TO LIFT: SLURS AND ARTICULATION IN MENDELSSOHN’S ORGAN WORKS _______________ An Abstract of a Document Presented to the Faculty of the Moores School of Music Kathrine G. McGovern College of the Arts University of Houston _______________ In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts _______________ by Kirk Michael Rich November 2018 Abstract A salient feature of Felix Mendelssohn’s organ works is the presence of many slur markings; these encompass as few as two notes and as many as several measures. Confusion surrounds the interpretation of these slurs. Some organists, particularly those trained in performance practices of earlier music, view Mendelssohn’s slurs as indications of articulation, as they would have been in the Baroque Era. Primary source evidence, however, suggests a shift in the meaning of slurs by the time Mendelssohn’s organ works were published.