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Voyage Samuel Barber, Elliott Carter, Eugène Ysaÿe, Baek Go San, Jacques Brel Christine J

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Voyage Samuel Barber, Elliott Carter, Eugène Ysaÿe, Baek Go San, Jacques Brel Christine J Voyage Samuel Barber, Elliott Carter, Eugène Ysaÿe, Baek Go San, Jacques Brel Christine J. Lee, Henry Kramer Voyage MENU Samuel Barber, Elliott Carter, Eugène Ysaÿe, Baek Go San, Jacques Brel Christine J. Lee, Henry Kramer 2 Credits Tracklist Programme note EN FR FUG 775 Recording English translations MENU Waterloo, Queen Elisabeth Music Chapel, Peter Lockwood 8-11 January 2021 Deutsche Übersetzungen Production Silvia Berutti-Ronelt Queen Elisabeth Music Chapel Artistic Direction, Recording & Editing Aline Blondiau Recording coordinator Danaé Baltsavias 3 Fuga Libera Artistic director Design Charles Adriaenssen Stoëmp Executive producer Photography Julien Lepièce © Mégane Fontaine Voyage MENU Samuel Barber, Elliott Carter, Eugène Ysaÿe, Baek Go San, Jacques Brel Christine J. Lee, Henry Kramer Christine Jeong Hyoun Lee : cello Henry Kramer : piano 4 musicchapel.org www.christine-j-lee.com www.henrykramerpiano.com Fuga Libera Voyage FUG 775 Samuel Barber (1910 - 1981) MENU Sonata in C minor, op. 6 01 . I. Allegro ma non troppo 8’00 02 . II. Adagio 4’0 4 03 . III. Allegro appassionata 6’05 Elliott Carter (1908 - 2012) Sonata for cello and piano 04 . I. Moderato 5’08 05 . II. Vivace, molto Allegro 4’57 06 . III. Adagio 5’41 07 . IV. Allegro 5’41 5 Eugène Ysaÿe (1858 - 1931) 08 . Méditation, in B minor, op. 16 12’51 Korean traditional folk tune 09 . Arirang Variations (arr. Baek Go San) 6’54 Jacques Brel (1929 - 1978) (arr. Adrian Delmar) 10 . Litanies pour un retour 2’29 11 . Isabelle 3’59 12 . La Chanson des vieux amants 4’15 Fuga Libera SONATA FOR VIOLONCELLO AND PIANO OP 6 MENU Music by SAMUEL BARBER © G SCHIRMER INC. Avec l’aimable autorisation de PREMIERE MUSIC GROUP SONATA FOR VIOLONCELLO AND PIANO Music by ELLIOTT CARTER © ASSOCIATED MUSIC PUBLISHERS, INC. Avec l’aimable autorisation de PREMIERE MUSIC GROUP Litanies pour un retour Author : Jacques Brel Composers : Jacques Brel & François Rauber. © Universal Music Publishing France & Éditions Jacques Brel, Brussels, 1958. Isabelle 6 Author : Jacques Brel Composers : Jacques Brel & François Rauber. © Universal Music Publishing France & Éditions Jacques Brel, Brussels, 1958. La Chanson des vieux amants Author : Jacques Brel Composers : Jacques Brel & Gérard Jouannest. © Éditions Jacques Brel, Brussels, 1967. Fuga Libera Voyage FUG 775 VOYAGE EN MENU The sound world portrayed by cellist Christine Lee resembles a journey during which the traveller puts down roots and arrives at a clearer definition of self thanks to the sustenance that a different culture will provide. It is no postcard with idyllic landscapes, but rather the expression of a quest for the self, a quest that she illuminates through her dreams, her doubts and her trials. This quest is not only hers: it was also shared by the three composers featured on this recording. Extending roots It was thanks to his virtuoso status that Eugène Ysaÿe (1858-1931) spent a great part of his life touring incessantly between Europe, Russia, and the United States, this last being the country in which he settled from 1918 to 1923. Ysaÿe also swiftly took up composi- tion as another means of expression; whilst he had received no formal training, his own inspirations formed the base from which he forged a highly personal musical language. 7 The Méditation, which he supposedly sketched out during his second American tour (1897-1898)1 and completed in 1913, is built around a theme reminiscent of Brahms from which Ysaÿe extracts chromatic harmonies that he proceeds to use almost obsessively, and which also suggest certain influences of German Expressionism. Whilst Ysaÿe’s lack of formal compositional training and his travels naturally allowed him to create his own musical personality through the influence of various cultures — notably in his Légende norvégienne, his Polonaises and his Mazurkas — this path is not always so clearly laid out for others. In an America that asserted its musical avant-garde in the persons of Aaron Copland (1900-1990), Roy Harris (1898-1979) and other students of Nadia Boulanger, Samuel Barber (1910-1981) seemed to be swimming against the tide: he needed to look towards Fuga Libera Voyage FUG 775 MENU the past in order to move forward. Barber began his Sonata for Cello and Piano in Italy in the summer of 1932, except that his inspiration was not Italian, but rather, like Ysaÿe’s, based on Brahms — the Brahms of the two cello sonatas in particular. The work’s con- nections to the European tradition were discussed by an anonymous critic in the New York Herald Tribune in 1937, who traced influences of Debussy, Elgar and Sibelius2. The sonata was clearly inspired by Romanticism, but does that really mean that it is a back- ward-looking work? Whilst Barber still makes use of tonality, he does not hesitate to push it to extremes, creating a harmonic structure based on the augmented sixth chord, by developing complex rhythmic structures, and by finding a balance not only between tradition and modernity, but also between the Old World and the United States. Elliott Carter (1908-2012), an avant-garde composer who studied with Nadia Boulanger in Paris, found his inspiration in a very different manner. In connection with innovative 8 rhythms and rhythmic patterns, Carter stated : “I was preoccupied with the time-memory patterns of music, with rethinking the rhythmic means of what had begun to seem a very limited routine used in most contemporary and older Western music. I had taken up again an interest in Indian talas, the Arabic durub, the tempi of Balinese gamelans (especially the accelerating Gangsar and Rangkep) and studied the newer recordings of African music, that of the Watusi in particular. At the same time, the music of the early quattrocentro, of Scriabin, Ives, and the techniques described in Cowell’s New Musical Resources also furnished me with many ideas. The result was a way of evolving rhythms and rhythmic continuities, sometimes called “metric modulation”, worked out during the composition of the Cello Sonata”3. Fuga Libera Voyage FUG 775 Apart from the direct links between Europe and the United States, Ysaÿe, Barber, Carter, MENU Christine Lee and many other artists are also united by their common desire to extend their roots and so to construct their artistic identity. Their respective journeys, both phys- ical and intellectual, provide confirmation of Paul Morand’s words in his Éloge du repos: “[demander] d’un coup à la distance ce que le temps ne pourrait [leur] donner que peu à peu” (“[to ask] suddenly from far away for what time could only give them little by little”. Dreams and doubts Of course, the distance required for this quest implies many sacrifices as well as many conflicting emotions. Christine Lee approaches these emotions, dreams, and doubts through the traditional Korean song Arirang and the songs of Jacques Brel; these works describe her path from Korea to Belgium, from her motherland to the country in which she received part of her training. Arirang (here in a virtuoso version arranged by Baek Go San) presents the pain of a 9 departure that would, in spite of everything, still be tinged with hope, as these verses show: “There are as many stars in the clear sky as there are dreams in our hearts. There in the distance is Mount Baekdu, where nature flourishes even in the heart of winter”. This utopia of a distant and better world is, however, balanced by those we leave behind. To leave, yes, but do we return? What mother, father or lover has not prayed for a loved one to return, as Brel expressed with such poetry in his Litanies pour un retour? A return that reveals a veil of stability in a mirage, the hope of being able to sing the words of Isabelle whilst bent over a cradle, to be amazed by imagining oneself as the protagonist of the La Chanson des vieux amants: without a cradle, certainly, but with an inexorable return towards ourselves. Fuga Libera Voyage FUG 775 This quest that has led Christine Lee from Korea to the United States and then to Belgium MENU is a quest made up of displacement, of struggle, and of sacrifices made for art and for herself. It is a quest that takes us from our homes and from our roots to create other homes and put down roots elsewhere, wherever we set down our luggage; it is, as Victor Hugo wrote, to be born and to die at every moment: naître et mourir à chaque instant. Xavier Falques 10 1 This information exists in a text by Ysaÿe 3 Elliott Carter, « Two Sonatas, 1948 and 1952 that has proved untraceable but that was (1969) », in Elliott Carter : Collected Essays reprinted in: José Quitin, Eugène Ysaÿe: and Lectures, 1937-1995, ed. by Jonathan étude biographique et critique, Bosworth W. Bernard (Rochester, NY: University of & Co. (Bruxelles, 1938). No musical sketch Rochester, 1998), 228-29. This text was has survived to provide confirmation of the used in the liner notes of the recording of the above. Sonata for cello and piano by Joel Krosnick and Paul Jacobs for Nonesuch (1969). 2 Barbara B. Heyman, Samuel Barber: The composer and his music (New York: Oxford University Press, 1992): 115. Fuga Libera Voyage FUG 775 VOYAGE FR MENU Le tableau sonore que propose la violoncelliste Christine Lee est celui d’un voyage où l’on étend ses racines, où l’on se nourrit de la culture que l’Autre nous offre pour mieux se définir. Il n’est pas une carte postale aux paysages idylliques, mais plutôt l’expression d’une quête de soi, qu’elle met en lumière à travers ses rêves, ses doutes et ses épreuves. Cette quête, elle la partage avec les trois compositeurs de cet enregistrement.
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