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Joseph Jongen 1873-1953 on the Wings of Winds 85 In Flanders’ Fields Joseph Jongen 1873-1953 On The Wings Of Winds 5 Beaufort - Brussels Woodwind Quintet Baudoin Giaux flute, Bram Nolf oboe, Jean-Michel Charlier clarinet Ivo Hadermann horn, Luc Loubry bassoon Hans Ryckelynck piano Joseph Jongen 1873-1953 On The Wings Of Winds 1 Rhapsodie, op.70 (19) for woodwind quintet and piano 17:49 Lied (1899) for horn and piano 04:14 Méditation, op.21 (1901) for English horn and piano 06:5 Deux pièces, op.98 (19) for woodwind quintet 15:51 4 Préambule 06:5 5 Danses 09:19 6 Danse lente, op.54 bis (194) for flute and piano 0:15 7 Concerto, op.124 (194) for woodwind quintet 16:40 TT: 74:59 5 Beaufort - Brussels Woodwind Quintet Baudoin Giaux, flute | Bram Nolf, oboe and English horn | Jean-Michel Charlier, clarinet Ivo Hadermann, horn | Luc Loubry, bassoon Hans Ryckelynck, piano Joseph Jongen (1873-1953) Joseph Jongen werd geboren in Luik op 14 december 187 en stierf in Sart-Lez-Spa op 1 juli 195. In oktober 1881 mocht hij zijn studie aan het Koninklijk Conservatorium van Luik aanvatten, toen hij nog geen acht jaar was (te jong, maar speciaal voor hem werd van de regels afgeweken); hij zou er zijn gehele muzikale opleiding krijgen. Hij was een buitengewoon begaafd student, zowel in muziektheorie als in het bespelen van klavierinstrumenten. In 1991 kreeg hij een eerste prijs in fuga bij acclamatie (het equivalent van een grootste onderscheiding). Voor piano en orgel behaalde hij een eerste prijs met een vergulde zilveren medaille, resp. in 189 en in 1896. Hij begon te componeren toen hij 1 was. Daarbij werd hij sterk aangemoedigd door zijn vader, die hem zelf de eerste muzieklessen had gegeven. Hij stopte pas met componeren in 1951, twee jaar voor zijn dood. In 1895 schreef hij zich in voor de Grote Nationale Compositiewedstrijd (in de wandeling de Belgische Prijs van Rome genoemd) en behaalde een tweede prijs. Hij schreef zich weer in voor de volgende wedstrijd, die van 1897 en won met zijn cantate Comala. Als componist heeft hij alle genres beoefend, maar hij heeft toch vooral muziek geschreven voor orgel en piano, alsook kamermuziek. De Rapsodie voor piano en blaaskwintet (in d klein), op. 70, dateert van 19. De eerste openbare uitvoeringen, door de “Société des Instruments à Vent de Paris,” vonden plaats in Parijs (7 februari 19) en in Brussel ( maart 19). Het is een werk waarvan de delen achter elkaar gespeeld worden, zonder onderbreking. De trage inleiding wordt gevolgd door een habanera en door een slotdeel in walsritme. Het werk is vrij uitzonderlijk in het oeuvre van Jongen door zijn modernisme, dat sterk contrasteert met andere werken van de componist. De musicoloog Ernest Closson meende er stravinskyaanse accenten in te horen, maar men kan hier en daar net zo goed enkele ravelliaanse accenten waarnemen… Zoals vaak bij Jongen is de pianopartij zeer rijk en zeer moeilijk. We mogen niet vergeten dat Jongen niet alleen een buitengewoon organist was, maar ook een eersteklas pianist, en dat hij tijdens zijn ballingschap in Engeland vaker was opgetreden als pianist dan als organist. Het Lied voor hoorn en piano dateert van 1899, maar het werd pas na de dood van de componist uitgegeven, in 1960. Men weet niet voor wie en in welke omstandigheden het werk geschreven werd. Maar de korte duur ervan en zijn ietwat eigenaardig karakter, met zijn afwisseling van lyrische en eerder heroïsche passages, suggereren een opgelegd stuk voor een wedstrijd, misschien geschreven voor de hoornklas van het Koninklijk Conservatorium van Luik. Na vier maten inleiding door de piano, spint de 4 5 hoorn een lange melodie in 1/8-maat, met een regelmatige deining die aan een barcarolle doet denken, en waarin trage en expressieve momenten afgewisseld worden met meer levendige en zelfs bij wijlen stormachtige momenten. De Meditatie voor althobo en piano uit 1901 werd gepubliceerd door La Veuve Muraille, een Luikse muziekuitgeverij. Het werk is opgedragen aan Joseph Ryelandt (1870–1965). Jongen had hem leren kennen toen ze beiden deelnamen aan de Grote Nationale Compositiewedstrijd in 1895, en ze zouden vrienden blijven tot aan Jongens dood. Ryelandt zou van 194 tot 1945 de zeer gerespecteerde directeur van het Stedelijk Conservatorium van Brugge worden. De Meditatie bestaat in twee versies, een met orkestrale begeleiding (première in Bergen op 17 september 1908) en een met pianobegeleiding. Het is een nog zeer romantische compositie, waarin de solopartij voor de althobo wordt voorafgegaan door een lange inleiding . De Twee Stukken voor blaaskwintet op. 98 schreef Jongen in de villa Cockaifagne, zijn vakantieverblijf in Sart-lez-Spa, in de zomer van 19; ze waren klaar op 4 september. Ze zijn opgedragen aan de “Société des Instruments à Vent de Bruxelles”, die bestond uit Apostel (fluit), Antoine (hobo), Van Guchte (klarinet), Faulx (hoorn) en Kerremans (fagot). Ze werden enkele jaren later gepubliceerd in Cincinnati (Ohio, VS) door Albert J. Andraud, wat een beetje verbazingwekkend is, want daarvoor waren werken van Jongen gepubliceerd in Parijs, door Durand, de uitgever van Debussy en Ravel, en in Londen door Chester, om nog maar te zwijgen van Schott Frères in Brussel. Het eerste stuk heeft als titel Préambule (Voorwoord). Het bestaat uit een trage inleiding, gevolgd door een sneller deel, dat een meer ritmisch motief bevat dat door ieder van de vijf instrumenten op zijn beurt wordt gespeeld. Het tweede is getiteld Danses; het bestaat uit verschillende delen (allegro – modéré – assez vif), waarin het ritmisch en dansend karakter domineert, maar waarin ook meer geleerde compositietechnieken, zoals de imitatie, aan bod komen. De Danse lente voor fluit en harp of piano, op. 56bis, dateert van 1919, toen Jongen in ballingschap vertoefde in Engeland; deze dans werd gepubliceerd door Chester in 194. Het is een prachtige melodie, tegelijkertijd melancholisch en zeer sensueel, die in het begin ondersteund wordt door een herhaald motief van drie noten in de bas op de piano. De melodie is geschreven in gis klein, terwijl de begeleiding geschreven is in de enharmonische toonaard van as klein, die geschikter is voor de diatonische harp. Het Concerto voor Blaaskwintet, op. 14, werd geschreven in de maanden september tot november 194. Het is opgedragen aan het Blaaskwintet van Brussel, dat in die tijd bestond uit Stoefs (fluit), Van Deyck (hobo), De Leye (klarinet), Pluvinage (hoorn) en Pirnay (fagot), allemaal uitstekende musici. 4 5 (Vier van hen waren professoren aan het Koninklijk Conservatorium van Brussel of zouden het later worden.) De term Concerto in de titel heeft hier zijn volle betekenis: de vijf instrumenten worden behandeld als gelijkwaardige solo-instrumenten, die vrijelijk met elkaar dialogeren. Net als in de Rapsodie op. 70 worden de verschillende delen achter elkaar gespeeld, zonder onderbreking. Paul Raspé Erebibliothecaris van het Koninklijk Conservatorium van Brussel Vertaling: Guy A.J.Tops --- Joseph Jongen (1873-1953) Né à Liège le 14 décembre 187 et décédé à Sart-lez-Spa le 1 juillet 195, Joseph Jongen a fait des études musicales complètes au Conservatoire royal de Liège, où il est entré en octobre 1881, par dérogation spéciale (il n’avait pas encore atteint l’âge de 8 ans…). Il y fut un élève exceptionnellement doué – tant pour l’écriture que pour le jeu des instruments à clavier – dont les études furent sanctionnées par un premier prix de fugue par acclamation (l’équivalent de la plus grande distinction) en 1891 et par la médaille de vermeil (l’équivalent du diplôme supérieur) pour le piano (189) puis pour l’orgue (1896). Il a commencé à composer dès l’âge de 1 ans, fortement encouragé par un père qui lui avait donné lui-même ses premières leçons de musique, et il ne s’est arrêté que deux ans avant sa mort, en 1951. Après s’être présenté au Grand Concours national de composition (appelé familièrement Prix de Rome belge) en 1895 et avoir obtenu un Second Prix, il obtint le Premier Grand Prix à la session suivante, en 1897, avec la cantate Comala. Comme compositeur, il a abordé presque tous les genres mais a surtout écrit de la musique pour l’orgue et le piano, ainsi que de la musique de chambre. La Rhapsodie pour piano et quintette à vent, op. 70, date de 19. Les premières exécutions publiques ont eu lieu à Paris (7 février 19) puis à Bruxelles ( mars 19) par la Société des Instruments à Vent de Paris. C’est une œuvre dont les différentes parties s’enchaînent et se jouent sans interruption. Une introduction lente est suivie par une habanera puis par une dernière partie en rythme de valse. Cette 6 7 partition, assez singulière dans la production de Jongen, est d’un modernisme qui contraste fortement avec d’autres. Le musicologue Ernest Closson y trouvait des accents strawinskyens, mais on peut également percevoir, ça et là, quelques accents ravéliens… Comme c’est souvent le cas chez Jongen, la partie de piano est très riche et très difficile : il faut rappeler ici que Jongen n’était pas seulement un remarquable organiste mais aussi un pianiste de premier plan et que, pendant son exil en Angleterre, il s’est plus souvent produit en public au clavier du piano qu’à la console de l’orgue. Le Lied pour cor et piano a été composé en 1899 et est resté longtemps inédit : il n’a été publié qu’après la mort du compositeur, en 1960. On ignore pour qui et dans quelles circonstances cette œuvre a été écrite, mais sa brièveté et son caractère un peu particulier (alternance de passages lyriques et plus héroïques) font penser à un morceau de concours, écrit peut-être pour la classe de cor du Conservatoire Royal de Liège.
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