Edouard Lalo & Albert Roussel
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A Bestiary of the Arts
LA LETTRE ACADEMIE DES BEAUX-ARTS A BESTIARY OF THE ARTS 89 Issue 89 Spring 2019 Editorial • page 2 News: Annual Public Meeting of the Five Academies News: Installations under the Coupole: Adrien Goetz and Jacques Perrin News: Formal Session of the Académie des beaux-arts • pages 3 to 7 Editorial The magnificent Exhibition: “Oriental Visions: Cynocephalus adorning the cover of this edition of From Dreams into Light” La Lettre emanates a feeling of peaceful strength Musée Marmottan Monet true to the personality of its author, Pierre-Yves • pages 8 and 9 File: Trémois, the oldest member of the Académie des Beaux-Arts after being elected to Paul Lemangy’s “A bestiary of the arts” seat on 8 February 1978. • pages 10 to 34 Through the insatiable curiosity and astounding energy that he brings to the table at the age of News: “Concerts for a seat” ninety-eight, Pierre-Yves Trémois shows us Elections: Jean-Michel Othoniel, the extent to which artistic creation can be Marc Barani, Bernard Desmoulin, regenerative, especially when it is not seeking to conform to any passing trend. News: The Cabinet des estampes de la In May 2017 we elected forty-three year-old composer Bruno Mantovani to Jean bibliothèque de l’Institut Prodromidès’ seat. Tribute: Jean Cortot Watching the two passionately converse about art, we realized that the half • pages 35 to 37 century separating them was of no importance. The Académie des Beaux-Arts is known for the immense aesthetic diversity Press release: “Antônio Carlos Jobim, running throughout its different sections. highly-elaborate popular music” This reality is in stark contrast with academicism. -
Hector B Erlioz
MARDI 28 SEPTEMBRE – 20H Hector Berlioz L’Enfance du Christ Première Partie : Le Songe d’Hérode Deuxième Partie : La Fuite en Égypte entracte Troisième Partie : L’Arrivée à Saïs Ensemble Orchestral de Paris Accentus Maîtrise de Paris * Laurence Equilbey, direction Vesselina Kasarova, mezzo-soprano (Marie) Paul Groves, ténor (Récitant) Matthew Brook, baryton (Joseph) | Mardi 28 septembre 28 | Mardi Laurent Naouri, baryton-basse (Hérode / Le Père de famille) Jean-Louis Georgel, basse (Polydore) Romain Champion, ténor (Centurion) Patrick Marco, chef de chœur * Coproduction Salle Pleyel, Ensemble Orchestral de Paris, dans le cadre de la collaboration artistique d’Accentus avec l’Ensemble Orchestral de Paris. L’Enfance du Christ L’Enfance Ce concert est surtitré. | Fin du concert vers 22h10. Hector Berlioz Berlioz Hector 28/09 ACCENTUS.indd 1 22/09/10 17:16 Hector Berlioz (1803-1869) L’Enfance du Christ, trilogie sacrée op. 25 (H 130) Composition : octobre 1850 à juillet 1854. Texte et musique d’Hector Berlioz. Première exécution intégrale : Paris, salle Herz, 10 décembre 1854, sous la direction du compositeur. Principaux interprètes : Mme Meillet (la Vierge Marie), M. Meillet (saint Joseph), M. Depassio (Hérode), M. Battaille (le Père de famille), M. Jourdan (le récitant). Durée : environ 100 minutes. Riche d’une diversité parfois étonnante, L’Enfance du Christ n’a pas été conçue immédiatement dans sa version complète et définitive. La Fuite en Égypte, deuxième volet d’un vaste triptyque, forme une œuvre dans l’œuvre qui fut d’abord pensée séparément et figura au programme de nombreux concerts en France et à l’étranger. Berlioz a raconté comment lui fut suggérée la toute première page de ce qu’il aimait à qualifier d’« oratoire ». -
Boston Symphony Orchestra Concert Programs, Season 71, 1951
BOSTON SYMPHONY ORCHESTRA SEVENTY-FIRST SEASON 1951-1952 Veterans Memorial Auditorium, Providence Boston Symphony Orchestra (Seventy-first Season, 1951-1952) CHARLES MUNCH, Music Director RICHARD BURGIN, i4550ciate Conductor PERSONNEL Violins Violas Bassoons Richard Biirgin, Joseph de Pasquale Raymond AUard Concert -master Jean Cauhap6 Ernst Panenka Alfred Krips Georges Fourel Theodore Brewster Gaston Elcus Eugen Lehner Rolland Tapley Albert Bernard Contra-Bassoon Norbert Lauga George Humphrey Boaz Piller George Zazofsky Jerome Lipson Louis Arti^res Paul Cherkassky Horns Harry Dubbs Robert Karol Reuben Green James Stagliano Vladimir Resnikoff Harry Shapiro Joseph Leibovici Bernard KadinofI Harold Meek Einar Hansen Vincent Mauricci Paul Keaney Harry Dickson Walter Macdonald V^IOLONCELLOS Erail Kornsand Osbourne McConathy Samuel Mayes Carlos Pinfield Alfred Zighera Paul Fedorovsky Trumpets Minot Beale Jacobus Langendoen Mischa Nieland Roger Voisin Herman Silberman Marcel Lafosse Hippolyte Droeghmans Roger Schermanski Armando Ghitalla Karl Zeise Stanley Benson Gottfried Wilfinger Josef Zimbler Bernard Parronchi Trombones Enrico Fabrizio Raichman Clarence Knudson Jacob Leon Marjollet Lucien Hansotte Pierre Mayer John Coffey Manuel Zung Flutes Josef Orosz Samuel Diamond Georges Laurent Victor Manusevitch Pappoutsakis James Tuba James Nagy Phillip Kaplan Leon Gorodetzky Vinal Smith Raphael Del Sordo Piccolo Melvin Bryant George Madsen Harps Lloyd Stonestrect Bernard Zighera Saverio Messina Oboes Olivia Luetcke Sheldon Rotenbexg Ralph Gomberg -
Dossier Pedagogique
PINOCCHIO Concerts réservés aux élèves de l’école primaire (cycle 2) : Lundi 16 mars 2020 – 9h00 et 10h30 Mardi 17 mars 2020 – 9h00 et 10h30 Jeudi 19 mars 2020 – 9h00 et 10h30 Auditorium Henri Dutilleux de Douai DOSSIER PEDAGOGIQUE Pinocchio Laurent Petitgirard sur un texte d’Edouard Signolet d’après Carlo Collodi Récitante > Isabelle Carré-Legrand Orchestre de Douai – Région Hauts-de-France Illustrations > Laëtitia La Saux Présentation > Michèle Eloire Orchestre de Douai – Douai Trade Center – 100 rue Pierre Dubois 59500 Douai – Tél. 03 27 71 77 77 – [email protected] Pinocchio PINOCCHIO Musique de Laurent Petitgirard sur un texte d’Edouard Signolet d’après Carlo Collodi Le livre-CD est disponible chez Didier Jeunesse L’auteur : Né en 1881 sous la plume de l’écrivain toscan Carlo Collodi, Pinocchio s’impose comme l’enfant terrible de la littérature italienne. La version hollywoodienne des studios Disney s’éloigne du roman italien d’origine : le petit garçon au cœur tendre du maître américain diffère radicalement du gamin insupportable imaginé par Collodi. C’est ce personnage a priori peu sympathique que le dramaturge Edouard Signolet a choisi pour sa version de Pinocchio, dans laquelle le pantin de bois, têtu, malpoli et ingrat doit vivre ses aventures pour évoluer et grandir. Le compositeur : Né en 1950, Laurent Petitgirard a étudié le piano avec Serge Petitgirard et la composition avec Alain Kremski. Musicien éclectique, sa carrière de compositeur de musique symphonique, d’opéras et de musique de chambre se double d'une importante activité de chef d'orchestre. Laurent Petitgirard a également composé de nombreuses musiques de films pour des metteurs en scène tels Otto Preminger, Jacques Demy, Francis Girod, Peter Kassovitz. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Orchestre "Lyrique De Région' Avignon Provence
HEATRE D^ÂVJGNON ET DES PAYS DE VAUCLUSE ORCHESTRE "LYRIQUE DE RÉGION' AVIGNON PROVENCE - - - i. " - V-v s fi \ • Jr , m I mi ¿ih 20iri2011 SAMEDM5 JANVIER - 20H30 Dans le cadre du bicentenaire de la naissance de Franz Liszt PREMIERE AUDITION A AVIGNON LA LEGENDE DE SAINTE- ELISABETH Oratorio de Franz Liszt (Editions musicales Peters) Co-réalisation Opéra-Théâtre d'Avignon et des Pays de Vaucluse Orchestre Lyrique de Région Avignon-Provence Musique Sacrée en Avignon Avec le soutien de Radio Classique et de France Bleu Vaucluse Direction musicale Direction de la Maîtrise Alain Altinoglu Florence Goyon-Pogemberg Direction des Choeurs Etudes musicales Michel Piquemal Sylvain Souret Aurore Marchand Elisabeth Ludwig Christina Dietzsch Marc Barrard Comtesse Sophie Le Sénéchal/un magnat hongrois Nora Gubisch Olivier Heyte Elisabeth enfant Hermann Pauline Nachman* Chul-Jun Kim Frédérik II Jean-Marie Delpas Ludwig enfant *Pages du Centre Augustin Mathieu* de Musique Baroque de Versailles MAITRISE DE L'OPERA- ORCHESTRE LYRIQUE CHŒUR REGIONAL CHŒUR DE L'OPERA- THEATRE DAVIGNON DE REGION AVIGNON PROVENCE-ALPES- THEATRE DAVIGNON ET DES PAYS PROVENCE COTE DAZUR ET DES PAYS DEVAUCLUSE DEVAUCLUSE Direction Délégué général Direction Direction Florence Philippe Grison Michel Piquemal Aurore Marchand Goyon-Pogemberg Directeur technique Régisseur général Régie surtitrage Noël Lemaitre Patrice Blancke Sabine Sendra Régisseurs de scène Directeur de production Nathalie Bruno et de la scène Michele Soro Philippe Turchi Franz Liszt et la Légende de Sainte-Elisabeth Assurément, Franz Liszt eut l'envergure d'un géant. Par bien de ses traits, il offre des similitudes avec Victor Hugo. Même ample stature, celle qu'une longévité accroît ; de la génération des compositeurs de 1810 - Mendelssohn, Chopin, Schumann -, Liszt fut le seul à avoir éprouvé une longue vie créatrice. -
Download Booklet
572373bk MartinuCon2:570034bk Hasse 23/8/10 8:38 PM Page 4 Arthur Fagen A former assistant of Christoph von Dohnányi (Frankfurt Opera) and James Levine (Metropolitan Opera), Arthur Fagen is a regular guest at the most prestigious opera MARTINU˚ houses, concert halls, and music festivals at home and abroad. Born in New York, he studied with Laszlo Halasz, Max Rudolf (Curtis Institute) and Hans Swarowsky. His career has been marked by a string of notable appearances including the Metropolitan Opera, Lyric Opera of Chicago, Staatsoper Berlin, Munich State Opera, Deutsche Oper Piano Concertos Berlin, New York City Opera, and orchestras including the Baltimore Symphony Orchestra, the Czech Philharmonic, Munich Radio Orchestra, Tokyo Philharmonic, Nos. 1, 2 and 4 Orchestre de la Suisse Romande, Deutsche Kammerphilharmonie, and RAI Orchestras of Turin, Naples, Milan and Rome, among others. From 1998 to 2001 he was invited regularly as Guest Conductor at the Vienna State Opera. He has served as Principal Giorgio Koukl, Piano Conductor in Kassel and Brunswick, as Chief Conductor of the Flanders Opera of Antwerp and Ghent, as Music Director of the Queens Symphony Orchestra and a Bohuslav Martinu˚ Philharmonic Orchestra, Zlín member of the conducting staff of the Chicago Lyric Opera. From 2002 to 2007 he was Music Director of the Dortmund Philharmonic Orchestra and Opera, and in 2008 Arthur Fagen he was appointed Professor at the Indiana University in Bloomington. Arthur Fagen has recorded for Naxos and BMG. Bohuslav Martinu˚ Philharmonic Orchestra The home of the Bohuslav Martinu˚ Philharmonic Orchestra is Zlín, a town in the east of the Czech Republic. -
Quintet in E Flat K.452 for Piano, Oboe, Clarinet
HAN DE VRIES – THE ALMOST LAST RECORDINGS – CD 1 [61:35] Chamber Music : Mozart, Beethoven Wolfgang Amadeus Mozart (1756-1791) Quintet in E flat K.452 for piano, oboe, clarinet, horn and bassoon (1784) 23:04 Stanley Hoogland (piano), Han de Vries (oboe), George Pieterson (clarinet), Joep Terwey (bassoon), Vicente Zarzo (horn) (live recording by TROS Radio; Kleine Zaal, Concertgebouw, Amsterdam, 25 September 1983) Wolfgang Amadeus Mozart Adagio in C K.580a (K.Anh.94) for cor anglais, 2 violins and violoncello (1788/89) 06:13 Han de Vries (oboe) members of the Amati Quartet: Jacques Holtman & Richard Kilmer (violin), Ben de Ligt (violoncello) (from EMI HMV 5C.055-24783; recorded 1973) Wolfgang Amadeus Mozart Divertimento in F K.213 for 2 oboes, 2 horns and 2 bassoons (1775) 09:26 members Nederlands Blazers Ensemble: Han de Vries & Carlo Ravelli (oboe), Joop Meijer & Jan Peeters (horn), Joep Terwey & Henk de Wit (bassoon) (live recording by AVRO Radio; Mozart Dag, Breukelen, 28 September 1969) Ludwig van Beethoven (1770-1827) Quintet in E flat opus 16 for piano, oboe, clarinet, horn and bassoon (1796) 22:51 Stanley Hoogland (piano), Han de Vries (oboe), George Pieterson (clarinet), Joep Terwey (bassoon), Vicente Zarzo (horn) (live recording by TROS Radio; Kleine Zaal, Concertgebouw, Amsterdam, 25 September 1983) HAN DE VRIES – THE ALMOST LAST RECORDINGS – CD 2 [74:36] Chamber Music : Danzi, Reicha Franz Danzi (1763-1826) Quintet in B flat opus 56 no.1 (1821) 14:03 Quintet in g opus 56 no.2 (1821) 14:05 Quintet in F opus 56 no.3 (1821) 20:56 -
Season 2010 Season 2010-2011
Season 20102010----20112011 The Philadelphia Orchestra Thursday, March 242424,24 , at 8:00 Friday, March 252525,25 , at 222:002:00:00:00 SaturSaturday,day, March 262626,26 , at 888:008:00:00:00 Stéphane Denève Conductor Imogen Cooper Piano Dutilleux Métaboles I. Incantatoire— II. Linéaire— III. Obsessionel— IV. Torpide— V. Flamboyant Mozart Piano Concerto No. 9 in E-flat major, K. 271 (“Jenamy”) I. Allegro II. Andantino III. Rondeau (Presto)—Menuetto (Cantabile)—Tempo primo Intermission Debussy Prelude to the Afternoon of a Faun Roussel Symphony No. 3 in G minor, Op. 42 I. Allegro vivo II. Adagio—Più mosso—Adagio III. Vivace IV. Allegro con spirito This program runs approximately 1 hour, 50 minutes. The March 24 concert is sponsored by MEDCOMP. Stéphane Denève is chief conductor designate of the Stuttgart Radio Symphony (SWR), and takes up the position in September 2011. He is also music director of the Royal Scottish National Orchestra (RSNO), a post he has held since 2005. With that ensemble he has performed at the BBC Proms, the Edinburgh International Festival, and Festival Présences, and at venues throughout Europe, including Vienna’s Konzerthaus, Amsterdam’s Concertgebouw, and Paris’ Théatre des Champs-Élysées. Mr. Denève and the RSNO have made a number of acclaimed recordings together, including an ongoing survey of the works of Albert Roussel for Naxos. In 2007 they won a Diapason d'Or award for the first disc in the series. Highlights for Mr. Denève in the current season include a concert at the BBC Proms with the Royal Scottish National Orchestra and pianist Paul Lewis; his debut with the Bavarian Radio Symphony; return visits to the Philharmonia Orchestra, the Deutsches Symphonieorchester Berlin, the Los Angeles Philharmonic, the Toronto Symphony, the New World Symphony, and the Hong Kong Philharmonic; and his debut at the Gran Teatre de Liceu in Barcelona, conducting Dukas’s Ariane et Barbe-bleue. -
660198-99 Bk Mayr EU
660300-01 bk Petitgirard EU 7/5/11 19:15 Page 1 Laurent 2 CDs PETITGIRARD Guru An Opera in Three Acts Claessens • Petrovna • Do • Wierzba • Kahn • Vidal Budapest Studio Choir and Honvéd Male Choir Hungarian Symphony Orchestra Budapest Laurent Petitgirard 660300-01 bk Petitgirard EU 7/5/11 19:15 Page 2 Laurent PETITGIRARD (b. 1950) Guru (2006-2009) An opera in three acts Libretto by Xavier Maurel based on an original idea by the composer Publisher: OSF Productions Commissioned by the French State (Ministry of Culture and Communication) The libretto received support from the Beaumarchais Foundation Guru . Hubert Claessens, Bass-baritone Marie . Sonia Petrovna, Actress Victor, Guru’s assistant . Philippe Do, Tenor Iris, the child’s mother . Karen Wierzba, Soprano Carelli, the sect ‘scientist’ . Philippe Kahn, Bass Marthe, Guru’s mother . Marie-Noëlle Vidal, Alto New disciple 1 . Andrea Csereklyei, Soprano New disciple 2 . Sára Dezsö, Mezzo-soprano New disciple 3 . Gabriella Galbács, Alto New disciple 4 . Lajos Fodré, Tenor New disciple 5 . György Philipp, Baritone New disciple 6 . Kornél Mikecz, Bass Budapest Studio Choir and Honvéd Male Choir Choir-master: Kalman Strausz Hungarian Symphony Orchestra Budapest Laurent Petitgirard Recorded at the Hungaroton Studio in Budapest, Hungary, from 8th-24th October, 2010 Executive producer: Christian May • Producer: Etienne Collard Sound engineer: Istvan Matok • Pro Tools engineer: Attila Kiss Editing: Digital Pro • Production manager: Patrick Charmetant Vocal coach: Mari Laurila 8.660300-01 2 660300-01 -
Christoph Eschenbach
BKLA0100695622-AFCD-NO 06.04.2006 16:24 Uhr Seite 1 Albert Roussel Symphony No. 2 Bacchus et Ariane Orchestre de Paris Christoph Eschenbach 1 BKLA0100695622-AFCD-NO 06.04.2006 16:24 Uhr Seite 2 Albert Roussel in Varengeville, July 1921 (Photo taken by Francis Poulenc) 2 BKLA0100695622-AFCD-NO 06.04.2006 16:24 Uhr Seite 3 Albert Roussel (1869–1937) Bacchus et Ariane, Op. 43 Orchestral Suite No. 1 1 I. Introduction 1:48 2 II. Youths and maidens at play 2:37 3 III. The labyrinth dance 3:16 4 IV. Bacchus appears. The dance is interrupted. A curious Ariadne approaches Bacchus. He twirls his black cloak above her head. She falls into a deep sleep 1:49 5 V. Theseus and his companions rush toward Bacchus. Bacchus reveals his identity. With an imperious gesture he indicates to Theseus and his companions the path to the sea. The clouds gather in the sky. Theseus and his companions head for the shore. The clouds break up. The sun reappears 2:41 6 VI. Dance of Bacchus. Ariadne, still asleep, takes part in Bacchus’ dance. The rhythm slackens. Bacchus lays Ariadne down on the rock and disappears 4:58 3 3 BKLA0100695622-AFCD-NO 06.04.2006 16:24 Uhr Seite 4 Bacchus et Ariane, Op. 43 Orchestral Suite No. 2 7 I. Introduction 2:38 8 II. Awakening of Ariadne. She looks about in astonishment. She arises, running and searching everywhere for Theseus and his companions. She understands that she has been abandoned. She struggles to bring herself to the top of a large rock. -
Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Next on Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of the entire Discoveries series every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, September 1st, 2012, 5:00-6:00 p.m. Franz Schubert (1797–1828). Wanderer Fantasy (1822), orch. Franz Liszt. Philip Thomson, piano, Hungarian State Orchestra, Kerry Stratton. Hungaroton 31525, Tr 2, 22:28 Johannes Brahms (1833–1897). Liebeslieder Waltzes (1868-9). Ensemble Vocal Michel Piquemal, Ensemble Orchestral de Paris, Armin Jordan. Erato 45457, Tr 1-9, 14:32 Johann Sebastian Bach (1685–1750). Prelude and Fugue in E-flat, “St. Anne” (1739?), orch. Arnold Schoenberg. Los Angeles Philharmonic, Esa-Pekka Salonen. Sony/CBS 89012, Tr 6–7, 15:24 Music will always challenge our assumptions, if we let it. For a couple of generations now, those who unearthed music from earlier times have wanted to play it the way it sounded in those earlier times. These “authentic” or “historically informed” performances opened our ears to new delights hidden in Medieval and Renaissance music. As playing techniques and instruments improved, the movement grew to encompass Baroque and Classical music. Even Romantic and later music have been influenced by the growing research. We can now listen to Brahms symphonies on “original” instruments. The quote marks around “authentic,” “historically informed,” and “original” are deliberate because the early-music experts know better than anyone that exactly recreating a centuries-old listening experience is impossible. For starters, conflicting manuscripts often make divining the composer’s original intent very difficult.