HYBRID MUL

TICHANNEL (1833 – 1897) Concerto in D, Op. 77 1 Allegro non troppo (cadenza: Joseph Joachim) 23. 09 2 Adagio 9. 27 3 Allegro giocoso, ma non troppo vivace –Poco più presto 7. 55 for Violin and in A minor, Op. 102 4 Allegro 16. 05 5 Andante 7. 36 6 Vivace non troppo – Poco meno allegro – Tempo I 8. 16

Julia Fischer - violin Daniel Müller-Schott - cello (Double Concerto) Netherlands Philharmonic Orchestra Amsterdam conducted by

Recording venue: Yakult Hall, Beurs van Berlage, Amsterdam (December 2006, ; December 2005, Double Concerto) Executive Producer: Job Maarse Recording Producers: Sebastian Stein (Violin Concerto), Job Maarse (Double Concerto) Balance Engineer: Jean-Marie Geijsen Recording Engineers: Roger de Schot (Violin Concerto), Sebastian Stein (Double Concerto) Editing: Sebastian Stein

Total playing-time: 72. 59

Biographien auf Deutsch und Französisch finden Sie auf unserer Webseite. Pour les versions allemande et française des biographies, veuillez consulter notre site. www.pentatonemusic.com “I have never before come across such a major talent. He is years “Frei, aber einsam” ahead of me.” “Frei, aber froh” hus spoke the Hungarian violinist Tand composer Joseph Joachim of his colleague Johannes Brahms, who was his junior by two years. Joachim and Brahms had met each other in Hanover in 1853, and from that moment onwards they became insep- arable. Not only did they give many concerts together, but during 1853 and 1854 Brahms even lived in Joachim’s household for some time. In a letter to his girlfriend Gisela von Arnim, dated October 20, 1854, Joachim gives a detailed characterization of his friend. He writes the following: “Brahms is the most confirmed egotist that one can imagine, although he is not aware of it himself as, thanks to his sanguine nature, everything truly pours forth from his quill without effort in the most direct act of genius – however, now and then with a lack of consideration (not with a lack of support, as that would be all right with me!) that hurts, as it shows a lack of culture.” This sounds as if Joachim considered Brahms to be an egocentric clodhopper, but on the Joseph Joachim other hand, he genuinely admired the ideals for which Brahms strove, with- vice versa – the person for whom art out making any compromises: “All he is not a random matter to be donned cares about is being undisturbed in and removed like a piece of jewellery.” the bliss he encounters in his music, A conspicuous fact is that Joachim in his belief in searching for a higher, signed most of these aphorisms with fantastic world – and the way he man- the initials f.a.e., which he sometimes ages to avoid all unhealthy emotions also jotted down as notes. and imagined grief of others is the The abbreviation “f.a.e.” stands true work of a genius – in that way, for Joachim’s motto, “frei, aber ein- he is truly healthy, just as his carefree sam” (= free, but lonely), which approach to life itself is highly appeal- Brahms also liked to use. Thus he ing, yea, even magnificent.” wrote as follows to Joachim in 1888: At that time, Brahms was an avid “For me, f.a.e. remains a symbol, and I reader of romantic literature and a fer- am happy to bless it, in spite of every- vent supporter of the romantic theory thing.” Furthermore, Brahms also used of art. For instance, he read Jean Paul his own motto which, in view of his and Novalis, and jotted down various light-hearted character (as described interesting statements by these writ- by Joachim), can be considered char- ers in a little notebook which he had acteristic of him: f.a.f: “frei, aber froh” entitled “Schatzkästlein des jungen (= free, but happy). Kreislers” (= the little treasure trove As a symbol, f.a.e. attained almost of the young Kreisler), with a nod to a cult status. Thus a private concert the fantasy figure from Schumann’s took place on October 28, 1853 in the Davidsbund. Joseph Joachim also house of Robert and Clara Schumann, tended to write a short note in this during which a surprise was sprung book every so often, mostly in the form on Joachim: he was presented with a of an aphorism. The following apho- violin based on the motto f.a.e., rism about the relationship between which had been especially composed man and artist is very striking: “Only for him jointly by , that person is a complete artist, for Albert Dietrich and Johannes Brahms. whom life intervenes to glorify art, and In fact, Brahms wrote almost all his violin works for Joachim, and also Joseph Joachim gave the first perform- regularly asked advice of the violin vir- ance of Brahms’ new Violin Concerto tuoso, as he himself did not play this at the Leipzig Gewandhaus, with the instrument. In his turn, Joachim had composer himself . repeatedly urged Brahms to compose Brahms’ Violin Concerto most a violin concerto for him. However, he certainly deserves the qualification of made it clear that he did not wish the a symphonic concerto; one need only work to be written in the style of the to listen to the orchestral introduction Romantic virtuoso concertos: it was to of no less than 90 bars! Nevertheless, be a symphonic concerto to continue in it still offers plenty of room to demon- the line of Beethoven’s Violin Concerto. strate virtuoso playing – especially in (Thanks to Joachim’s performances, the cadenza, which Brahms had left to this concert was accepted at the time the fantasy of Joachim, and in the finale, as standard concert repertoire). During which is indebted to the Hungarian the summer of 1878, spent as usual in salon style so popular in Austria during the Austrian village of Pörtschach am the nineteenth century. Nevertheless, Wörthersee, Brahms wrote a concerto that did not manage to protect the for violin and orchestra, keeping in work against critics who held other mind the performance style of his expectations of solo concertos. Hans friend. In August, he sent Joachim a von Bülow wrote the following: “Max couple of “violin passages to try out”. Bruch’s Violin Concerto in G is for the The latter reacted enthusiastically, and violin, but Brahms’s Concerto is clearly soon the passages expanded into against it.” And according to various the finale of the Violin Concerto in D. reports, , the great Brahms worked like a man possessed. Spanish violin virtuoso decided against At a certain point, the two middle move- including the concerto in his reper- ments of the originally four-movement toire, as he refused to stand by with concerto disappeared into the waste- the violin idle in his hands to listen to paper basket and were replaced by the breathtakingly beautiful solo the Adagio; the middle movement as which introduces the slow movement. we know it now. On January 1, 1879 But when Brahms took the side of Joachim’s wife, the mezzo-soprano Amalie Schneeweiss, during divorce procedures in 1880, the relationship between Brahms and Joachim cooled off considerably. Clara Schumann reports that the two friends even refused to speak to one another for a number of years, although Joachim continued to perform Brahms’ music. In order to break through this impasse, Brahms wrote his Double Concerto for Violin, Cello and Orchestra in the summer of 1887, hoping that Joachim would take on the violin part. Indeed, that turned out to be the case: on October 18 that year, the first per- formance of the Double Concerto took place in Cologne, featuring Joseph Joachim on the violin, Robert Hausman on the cello, and Brahms as conduc- allusions to the Violin Concerto in A tor. Joachim was grateful for Brahms’ minor by Giovanni Battista Viotti: this gesture and the rift between the two was one of Joachim’s favourite show- friends was repaired. Clara Schumann pieces, of which Brahms was also very writes as follows: “This concerto is as it fond. But there is more. The thematic were a work of reconciliation - Joachim material of the first movement is based and Brahms are now talking to each on the f.a.e motif. When the soloists other again for the first time in years.” enter with a cadenza-like passage on The Double Concerto contains top of the main theme, it is the solo a good many musical references to violin that opens with the notes f.e.a. the friendship between Joachim and (an inversion, which was also often Brahms. Thus it contains a number of employed by Joachim). Finally, at the end of the first movement, following have written it, had I been enjoying life many dialogues between the solo so exuberantly along the Rhine and in instruments, there is a long passage Berchtesgaden.” in which both soloists play in thirds: Ronald Vermeulen perhaps a musical symbol for the English translation: Fiona J. Stroker-Gale rediscovered friendship? “Frei, aber einsam” (= free, but lonely): the motto for the friendship between Brahms and Joachim, two ulia Fischer is ranked as one of the great masters who were connected by Jleading violinists of the day, cap- their capricious approach to life. Just tivating audiences world-wide with as Joachim never again felt any desire her music. She was born in to commit himself to another woman in 1983, of German-Slovak parents, after the break-up of his marriage, and began her musical training at just Brahms never even got married. Just four years old. At nine, she began before beginning work on his Double receiving lessons from the renowned Concerto, he wrote as follows to his violin teacher Ana Chumachenco. In ‘confidante’ Clara Schumann: “I need 2006, she was appointed professor absolute solitude, not just in order to at the “Hochschule für Musik und achieve my very best, but also sim- Darstellende Kunst” in am ply to think my own thoughts. That Main. is my nature. However, on the other Winning the international Yehudi hand, it is also very easy to explain: Menuhin Competition in 1995, with the after all, someone who, like myself, great violinist himself conducting, was enjoys life and art, is only too eager a significant milestone in her lightning to enjoy both – and to forget all the career. The following year, she won the rest. Perhaps it is also the most cor- 8th Eurovision Competition for Young rect and sensible thing to do. But right Instrumentalists. Since then, Julia now, with a new, major work in front Fischer has performed with reputed of me, I am still quite happy about it, conductors and leading orchestras and have to say to myself: I would not throughout the world. Many of her concerts have been recorded for and/or with Maestro Kreizberg include her broadcast live on radio and television. first appearance at the London PROMS Julia Fischer receives regular invi- in summer 2008. Julia Fischer also tations from the Pittsburgh Symphony forms a chamber-music duo with Yakov Orchestra, the National Symphony Kreizberg at the : they will first Orchestra in Washington D.C., the perform as a duo in May 2007 in recital and the New in Valencia. Furthermore, Julia Fischer York Philharmonic Orchestra, among has so far recorded all her CDs with others, to perform in the USA. She also orchestral music together with Maestro plays with the leading European orches- Kreizberg. tras, including the Vienna Symphonic, Other major conductors with the St. Petersburg Philharmonic, the whom Julia Fischer has performed Staatskapelle Dresden and the London include: , Christoph Philharmonic Orchestra. She has an Eschenbach, , Sir especially close relationship with the , , Jun Academy of St. Martin in the Fields, Märkl, Ruben Gazarian, Emmanuel which she first led in January 2006 dur- Krivine and . ing a tour of Germany, with which she Julia Fischer is an ardent cham- made history later on in the autumn, ber musician, and performs regularly performing in Frankfurt to celebrate with Jean-Yves Thibaudet and Daniel the 25th Anniversary of the reopening Müller-Schott, among others. She of the Alte Oper. Another major tour receives invitations to play at the of Germany, Austria and the Benelux major international festivals, such as is planned for 2009, to celebrate the London’s Mostly Mozart Festival, the 50th Anniversary of the foundation of Aspen Music Festival, the Ravinia the Academy. Festival, the Spring Festival, Julia Fischer was appointed the St. Petersburg Winter Festival, the Artist in Residence at the Netherlands Schleswig-Holstein Music Festival, and Philharmonic Orchestra, under Chief the Mecklenburg-Vorpommern Festival, Conductor Yakov Kreizberg, for the where she was awarded the Soloist 2006/2007 season. Further joint projects Prize in 1997. In 2004, her first CD was released Most recently, Julia Fischer has by - the label for which also been concentrating on contempo- Julia Fischer records exclusively rary music. As a consequence, she has - entitled Russian Violin Concertos already given the first performance of with the Russian National Orchestra Matthias Pintscher’s together (under Yakov Kreizberg), which was with Jean-Yves Thibaudet and Daniel awarded the 2005. Her Müller-Schott. During the 2006-2007 latest recording - Tchaikovsky’s Violin season, she is performing Maazel’s Concerto - was released in November Violin Concerto, accompanied by the 2006, with the same orchestra and Netherlands Philharmonic Orchestra, conductor. All CD releases of the as well as Nicholas Maw’s Violin young violinist have received major Concerto at the Aspen Music Festival. recognition and awards – many have Julia Fischer plays on an Italian received a Diapason d’Or as well as a violin made by Giovanni Battista Choc from the Monde de la Musique. Guadagnini, dating from 1750. Her recording of Bach’s and www.juliafischer.com Partitas for Solo Violin was even voted the BBC Music Magazine Award Daniel Müller-Schott as “Best Newcomer 2006” and the “A great cellist, like a great tenor, Diapason d’Or de l’Année. Meanwhile, should sound like no-one else. I PentaTone has released the second bring Pablo Casals and Mstislav CD of Mozart Violin Concertos featur- Rostropovich up in order to sug- ing Julia Fischer with the Netherlands gest that young Daniel Müller- Chamber Orchestra; Piano Trios by Schott may soon be in their league.” Mendelssohn-Bartholdy, together with Octavio Roca, The Miami Herald Daniel Müller-Schott and ; and the Brahms Violin Concerto n only a few years, Daniel Müller- and Double Concerto, together with ISchott has succeeded in establish- Daniel Müller-Schott. Further record- ing himself throughout the world as ings are soon to be added to her one of the supreme cellists. With discography. his sure sense of style and enor- mous musical maturity, he opens up will be making guest appearanc- new paths for his audiences, includ- es as a soloist in many European ing ones leading to works already countries as well as in the United thought to be well-known. He is con- States, Canada and South-East Asia. stantly searching for both new and In August 2006, Daniel Müller-Schott rare old works with which he can will be making his first appear- extend his repertoire on the cello, ance at the Salzburger Festspiele including with his own adaptations, with an evening of chamber music. and in particular performances of the Recitals, solo evenings and trio music of the 20th and 21st centuries. concerts will also be taking him As a soloist, Daniel Müller-Schott to the Festspielhaus Baden-Baden, works with such renowned conduc- the Musikhalle Hamburg, the Phil- tors as Vladimir Ashkenazy, Charles harmonie München, the Concertge- Dutoit, , Michael bouw Amsterdam and the Tonhalle Gielen, , Marek Zürich. In addition to Anne-Sophie Janowski, Armin Jordan, James Judd, Mutter und Sir André Previn, his Yakov Kreizberg, Kurt Masur and Sir chamber music partners include André Previn. His concerts are with Vadim Repin, , Steven orchestras such as the Chicago Sym- Isserlis, Robert Kulek, Julia Fis- phony Orchestra, the New York Phil- cher, Olli Mustonen, Christian harmonic, the Philadelphia Orches- Tetzlaff and Jean-Yves Thibaudet. tra, the Hamburg NDR Symphony Daniel Müller-Schott studied Orchestra, the Orchestre National de under Walter Nothas, Heinrich France, the Israel Symphony Orches- Schiff and Steven Isserlis. He ben- tra, the Nederlands Philharmonisch efited from the personal sponsor- Orkest, the Warsaw National Philhar- ship and support of Anne-Sophie monia, the Tchaikovsky Symphony Mutter as the holder of a scholarship Orchestra Moscow, the City of Bir- from her Foundation. At the age of mingham Symphony Orchestra and 15 he won international acclaim- the Philharmonia Orchestra London. ing by taking first prize at Mos- In 2006 Daniel Müller-Schott cow’s International Tchaikovsky

Competition for Young Musicians. orchestras throughout Europe, includ- Daniel Müller-Schott plays a Matteo ing the Leipzig Gewandhaus, Berlin Goffriller cello, made in Venice in Philharmonic, WDR Köln, NDR 1700. The 29-year-old musician lives Hamburg, Staatskapelle Dresden in Munich, his home-town. In his and Munich Philharmonic, with spare time he is an enthusiastic which he works regularly. He has jogger and badminton player. He also worked with the Deutsches is very interested in art, and feels Sinfonie-Orchester Berlin, Bayerische a strong affinity with 19th century Rundfunk, Orchestre de Paris, Tonhalle French painters; it is the way they Orchestra Zürich, Royal , treat colours and light which con- London Symphony Orchestra, and stantly fascinates and inspires him. Philharmonia Orchestra; he is a fre- www.daniel-mueller-schott.com quent guest at the BBC Proms. Within North America, Yakov Yakov Kreizberg Kreizberg regularly works with pres- he Russian-born American con- tigious orchestras including the Tductor Yakov Kreizberg currently Philadelphia Orchestra (with which holds the posts of Chief Conductor he toured the Americas), Pittsburgh and Artistic Advisor of the Netherlands Orchestra, Cincinnati Orchestra, and Philharmonic Orchestra and the Minnesota Orchestra; he has also con- Netherlands Chamber Orchestra, as ducted the Los Angeles and New York well as Principal Guest Conductor Philharmonics, and the Chicago and of the Orchestra. Boston Symphony Orchestras. From 1995 to 2000, he was Principal Besides having recorded for Conductor and Artistic Advisor of the Decca and Oehms Classics, Yakov Bournemouth Symphony Orchestra, Kreizberg’s current collaboration and during 1994 to 2001 he held the with Pentatone Classics and the post of Generalmusikdirector of the Netherlands Philharmonic Orchestra . has been extremely successful. With In demand across the globe, Pentatone Classics, Mr. Kreizberg has Yakov Kreizberg has conducted recorded an award-winning disc with Julia Fischer and the Russian National and Leinsdorf, as well as at the Los Orchestra, whereas his first recording Angeles Philharmonic Institute. In with the Vienna Symphony Orchestra 1986, he won first prize in the Leopold – of Bruckner’s Symphony No.7 – was Stokowski Conducting Competition in nominated in two categories (includ- New York. ing best orchestral performance) for www.yakovkreizberg.com the 2006 Grammy Awards. At the Komische Oper, Mr. Netherlands Philharmonic Kreizberg established a fine reputa- Orchestra Amsterdam tion in a wide variety of repertoire. t could have been a slogan from a Elsewhere, he has conducted the Itv-commercial: “the most versatile Canadian Opera, Lyric Opera of Chicago, orchestra in the country”, but in the English National Opera and on a case of the Netherlands Philharmonic number of occasions the Glyndebourne Orchestra Amsterdam this title is Festival Opera. He has recently con- entirely justified. No other orchestra ducted Iolanthe with Netherlands in the Netherlands covers such a Opera and returns in 2007/08 for broad range of repertoire like the Katya Kabanova. As part of the 2004 Netherlands Philharmonic Orchestra Bregenz FestivaI, he conducted Weill’s Amsterdam does. Der Protagonist and Royal Palace with With 130 musicians the the Vienna Symphony Orchestra, and Netherlands Philharmonic Orchestra is in 2006 he made his début at the Royal the largest orchestral organization in Opera House with Macbeth.Yakov the Netherlands. Founded in 1986 as a Kreizberg was born in St Petersburg merger of the Amsterdam Philharmonic, and studied conducting privately with the Utrecht Symphony and the Ilya A. Musin, (the renowned Professor Netherlands Chamber Orchestra, the of Conducting at the St. Petersburg Netherlands Philharmonic Orchestra Conservatory), before emigrating to continues the tradition of its the United States in 1976. There, he predecessors in offering an attractive was awarded conducting fellowships combination of accessible concert pro- at with Bernstein, Ozawa grams, in which works from the core repertoire are combined with con- Barshai, , Markus Stenz, temporary music. The orchestra has Dmitri Kitaenko, Emmanuel Krivine, a tradition in performing the music Sir and Hans Vonk. of Dutch composers and has commis- The orchestra worked with esteemed sioned and premiered works by Louis soloists like Frank Peter Zimmerman, Andriessen, Theo Loevendie, Willem Leonidas Kavakos, Vadim Repin, Jeths, Jeff Hamburg, Hans Kox, Hans , Bella Davidovich, Koolmees and Otto Ketting. Leif Ove Andsnes, Maria Joao Pires, Next to these concerts, the Stephen Hough, Stephen Kovacevich, majority of which take place in Elisabeth Leonskaja, Radu Lupu, the world-famous acoustics of the Heinrich Schiff, Natalia Gutman, Frans Amsterdam Concertgebouw, the Helmersson, Mischa Maisky and Netherlands Philharmonic Orchestra Antonio Menesses. Amsterdam accompanies most of the In September 2003 Hartmut performances of Netherlands Opera in Haenchen has been succeeded by the the Amsterdam Muziektheater. dynamic Russian born American con- From the start Hartmut Haenchen ductor Yakov Kreizberg. With Kreizberg has been chief conductor with the the orchestra will broaden its reper- orchestra. His performances of toire, raise its international profile Wagner’s Ring des Nibelungen and and start on a prestigious recording of the complete Mahler symphonies scheme. Following successful con- met with high critical acclaim, both certs in Amsterdam Kreizberg and nationally and internationally. Many the orchestra already recorded Franz of his performances were issued on Schmidt’s Fourth Symphony (again for CD, e.g. on the orchestra’s own label. Pentatone on SACD) and in the coming On the young and enterprising Dutch seasons milestones of the repertoire label Pentatone a recording on super- will be recorded as well as composi- audio (SACD) format of Mahler’s Fifth tions featured on the programmes of Symphony appeared. the orchestra’s international tours. Other conductors that have per- Enthusiasm and diversity: these formed with the orchestra are: Rudolph are the keywords to describe the Netherlands Philharmonic Orchestra. Brahms wohnte auch in den Jahren A small string Divertimento by Mozart, 1853 und 1854 im Hause Joachim. In the vast structure of a Wagner opera, einem vom 20. Oktober 1854 datierten or a new work by Peteris Vasks: the Brief an die befreundete Gisela von Netherlands Philharmonic plays it Arnim gibt Joachim eine detaillierte all, and together with our new chief Charakterstudie seines Freundes. conductor Yakov Kreizberg and guest So schreibt er: „Brahms ist der ein- artists we try to bring our enthusi- gefleischte Egoist, den man sich asm for the music to the audience. denken kann, ohne dass er es selbst An audience that consists for the wüsste, wie denn überhaupt Alles largest part of real music lovers, for bei ihm in unmittelbarster Genialität whom an evening at the Amsterdam ächt unbesorgt aus seiner sanguini- Concertgebouw or the Muziektheater schen Natur hervorquillt – bisweilen is the ultimate experience. aber mit einer Rücksichtslosigkeit www.orkest.nl (nicht Rückhaltlosigkeit, denn das wäre mir recht!), die verletzt, weil „Frei, aber einsam“ sie Unbildung verräth.“ Danach wäre „Frei, aber froh“ Brahms nichts weiter als ein egozen- „Mir ist noch niemals ein trischer, ja ungehobelter Klotz, doch derart großes Talent dem steht Joachims wirklich auf- begegnet. Er ist mir um Jahre rechte Bewunderung für jene Ideale voraus.“ gegenüber, auf die Brahms kompro- o lautete das Urteil des ungari- misslos abzielte: „Ungestört seiner Sschen Geigers und Komponisten Musikseligkeit, seinem Glauben an Joseph Joachim über seinen zwei eine höhere fantastische Art, sich alle Jahre jüngeren Kollegen Johannes ungesunden Empfindungen und einge- Brahms. Joachim und Brahms waren bildeten Schmerzen Anderer vom Hals sich 1853 in Hannover begegnet und zu halten – darin ist er wahrhaft gesund, von dort an schier unzertrennlich. wie denn auch seine Sorglosigkeit für Beide gaben nicht nur eine Vielzahl die Existenz in ihm schön, ja grossar- gemeinsamer Konzerten, sondern tig ist.“ In dieser Phase seines Lebens steht für „frei, aber einsam“, jenes war Brahms ein nahezu besessener Lebensmotto von Joachim, das auch Leser der romantischen Literatur und Brahms gerne für sich in Anspruch ein glühender Anhänger der roman- tischen Kunsttheorie. So las er etwa Jean Paul und Novalis und notierte sich interessante Aussagen dieser Schriftsteller in einem Notizbuch, dem er in Anlehnung an eine Fantasiefigur aus Schumanns „Davidsbündler“ den Titel „Schatzkästlein des jungen Kreisler“ gegeben hatte. Auch Joseph Joachim schrieb dann und wann kurze Bemerkungen, meist Aphorismen in dieses Büchlein. Ein besonders treffender beschreibt etwa das Verhältnis zwischen Mensch und Künstler: „Nur der Mensch ist ganzer Künstler, bei dem das Leben in die Kunst, diese in das Leben verherrlichend ein- greift, der Mensch, dem die Kunst nichts Zufälliges ist, das er wie ein Geschmeide nach Belieben um- und abhängt.“ Bemerkenswert ist die Tatsache, dass Joachim die meisten seiner Aphorismen mit den Initialen f.a.e. unterzeich- nete – mal in Buchstaben, mal in Notenform. Die Abkürzung f.a.e. nahm. So schreibt er 1888 an Joachim: „Für mich ist f.a.e. ein Symbol geblieben, und darf ich es, trotz allem, wohl segnen.“ Außerdem hatte Brahms noch ein eigenes Motto, das man in Anlehnung an die von Joachim beschriebene Sorglosigkeit des Komponisten wohl als charakteristisch bezeichnen kann: f.a.f. – „frei, aber froh“. Das Symbol f.a.e. errang bei- nahe Kultstatus. So fand am 28. Oktober 1853 im Haus von Clara und Robert Schumann eine geschlossene Konzertveranstaltung statt, bei der Joachim mit einer eigens für ihn von Robert Schumann, Albert Dietrich und Johannes Brahms komponierten Violinsonate überrascht wurde, die auf dem Motiv f.a.e. basierte. Brahms komponierte übri- gens beinahe alle seiner Violinwerke für Joachim und fragte den Geiger auch regelmäßig um Rat, da er das Instrument selber nicht beherrschte. Joachim hatte Brahms wiederholt gedrungen, doch ein Violinkonzert für ihn zu schreiben. Das Werk sollte sti- listisch aber nicht dem romantischen Virtuosenkonzert folgen, sondern vielmehr ein symphonisches Konzert die nicht weniger als 90 Takte umfasst! werden, das den Beethovenschen Und doch bleibt auch Raum für die Gattungsbeitrag fortsetzt (der durch Virtuosität, vor allem in der Kadenz, Joachims Aufführungen einen festen die Brahms der Fantasie von Joachim Platz im Konzertrepertoire gefunden überließ, sowie im Finale, das dem hatte). Im Sommer 1878, Brahms hielt im Österreich des 19. Jahrhunderts sich wie gewöhnlich im österreichi- so populären ungarischen Salon-Stil schen Pörtschach am Wörthersee verpflichtet ist. Aber das konnte das auf, schrieb er – mit seinen Gedanken Werk nicht vor den Kritikern retten, beim Spiel des Freundes – ein Konzert die einfach andere Erwartungen an für Violine und Orchester. Im August ein Solokonzert hatten. So schrieb erhielt Joachim einige „Violinpassagen etwa Hans von Bülow: „Max Bruchs zum Ausprobieren“. Dessen Violinkonzert in G-Dur ist für die Reaktionen waren enthusiastisch und Violine, das von Brahms aber dagegen die Passagen wuchsen sich rasch zum geschrieben.“ Und der große spanische Finale des D-Dur-Violinkonzertes aus. Violinvirtuose Pablo de Sarasate wollte Brahms arbeitete wie ein Besessener. das Konzert wie verlautet nicht in sein Die beiden Mittelsätze des ursprüng- Repertoire aufnehmen, da er sich wei- lich viersätzigen Werkes landeten gerte, mit der Violine in der Hand dem schließlich im Papierkorb und wur- atemberaubenden Oboensolo zuzuhö- den das Adagio ersetzt, das wir heute ren, das den langsamen Satz eröffnet. als Mittelsatz kennen. Am 1. Januar Das Verhältnis zwischen Brahms 1879 brachte Joseph Joachim das und Joachim kühlte merklich ab, als neue Violinkonzert von Brahms Brahms 1880 im Scheidungskrieg zwi- im Gewandhaus zu Leipzig zur schen Joachim und seiner Gemahlin, Uraufführung. Der Komponist stand der Mezzosopranistin Amalie am Pult. Schneeweiss, Partei für diese ergriff. Mit Fug und Recht kann man Clara Schumann berichtet, dass die das Violinkonzert als symphonisches beiden Freunde mehrere Jahre über- Konzert bezeichnen, darauf weist haupt nicht miteinander sprechen bereits die Orchestereinleitung hin, wollten, obwohl Joachim weiterhin Werke von Brahms spielte. Um aus Passage über das Hauptthema einset- dieser Sackgasse herauszukommen, zen, ist es die Violine, die mit den Tönen komponierte Brahms im Sommer f – e – a (einer von Joachim oft benutz- 1887 ein Doppelkonzert für Violine, ten Umkehrung) beginnt. Am Ende des Violoncello und Orchester. Er hoffte, ersten Satzes, nach mehreren Dialogen dass Joachim sich bereit erklären zwischen den Solo-Instrumenten, taucht würde, den Geigenpart zu übernehmen. schließlich eine Passage auf, in der die So kam es auch und am 18. Oktober beiden Solisten in Terzen voranschrei- 1887 spielten Joseph Joachim und ten – ein musikalisches Symbol für die der Cellist Robert Hausmann unter der wiedergefundene Freundschaft? Leitung von Brahms die Uraufführung „Frei, aber einsam“ – das Motto des Doppelkonzerts in Köln. Joachim der Freundschaft zwischen Brahms zeigte sich dankbar für Brahms’ Geste und Joachim, zweier Meister ihres und der Bruch zwischen beiden war Faches, die durch ihren eigensinni- gekittet. Clara Schumann schreibt: gen Lebenswandel verbunden waren. „Es ist dies Konzert gewissermaßen Denn wie sich Joachim nach seiner ein Versöhnungswerk – Joachim und gescheiterten Ehe nie wieder an eine Brahms haben sich seit Jahren zum Frau binden wollte, so blieb Brahms erste Male wieder gesprochen.“ sein Leben lang Junggeselle. An seine Das Doppelkonzert enthält zahl- „Herzensfreundin“ Clara Schumann reiche musikalische Verweise auf die schrieb er kurz bevor er die Arbeit am Freundschaft zwischen Joachim und Doppelkonzert begann: „Ich brauche Brahms. So umfasst das Werk einige die absolute Einsamkeit, nicht sowohl Anspielungen auf das Violinkonzert um das mir Mögliche zu leisten, son- a-moll von Giovanni Battista Viotti, dern um nur überhaupt an meine eines von Joachims Paradestücken, Sache zu denken. Das liegt an meinem das auch Brahms sehr schätzte; aber es Naturell, es ist aber auch sonst einfach gibt noch mehr Zusammenhänge. Das zu erklären. Wer nun, wie ich Freude thematische Material des Kopfsatzes am Leben und an der Kunst ausser sich basiert auf dem f.a.e.-Motiv. Wenn hat, der ist nur zu geneigt, beides zu die Solisten mit einer kadenzartigen geniessen – und andres zu vergessen. Es möchte auch wohl das Richtigste 1854, Joachim trace un portrait détaillé und Gescheiteste sein. Aber, gerade du caractère de son ami : « Brahms est jetzt, da ein neues grösseres Werk un égoïste invétéré, bien qu’il ne s’en vor mir liegt, freue ich mich doch ein rende lui-même pas compte, car grâce wenig seiner und muss mir sagen: ich à sa nature optimiste, tout coule vérita- hätte es nicht geschrieben, wenn ich blement sans effort de sa plume, dans mich am Rhein und in le plus pur trait de génie – alors que Berchtesgaden noch so toutefois, entre-temps, il fait montre schön des Lebens gefreut d’un manque de considération (et hätte.“ non pas d’un manque de soutien, ce Ronald Vermeulen qui ne me poserait aucun problème !) Aus dem Niederländischen blessant, car exprimant un manque de von Franz Steiger culture. » Bien que Joachim semble considérer Brahms comme un ours „Frei, aber einsam“ mal léché égocentrique, il éprouve en „Frei, aber froh“ revanche un véritable émerveillement « Je n’ai jamais pour les idéaux que Brahms poursuit rencontré quelqu’un d’aussi talen- sans concession aucune : « La seule tueux. Il a des années d’avance sur chose qui l’intéresse est de pouvoir moi. » jouir sans être dérangé de la béati- insi parlait le violoniste et compo- tude que lui procure la musique, de sa Asiteur hongrois Joseph Joachim conviction de la recherche d’un monde de son collègue Johannes Brahms, fantastique – et la façon dont il parvient son cadet de deux ans. Joachim et à esquiver toute émotion malsaine et Brahms se rencontrèrent en 1853 à peine imaginée des autres tient vérita- Hanovre et devinrent inséparables. blement du génie – et il y excelle, tout En plus des nombreux concerts qu’ils comme son approche prudente de la donnèrent ensemble, Brahms vécut vie elle-même est extrêmement sédui- quelque temps chez Joachim en 1853 sante, et même magnifique. » et 1854. Dans une lettre à son amie À l’époque, Brahms fut un lecteur Gisela von Arnim, datée du 20 octobre impénitent de littérature romantique et un fervent adepte de la théorie artis- sa propre devise, qui compte tenu de tique romantique. Il lut par exemple l’insouciance décrite par Joachim, peut Jean Paul et Novalis, et nota divers être qualifiée de caractéristique : f.a.f., propos intéressants de ces auteurs soit « libre, mais joyeux ». dans un carnet auquel il avait donné, Le symbole f.a.e. acquit presque en clin d’œil au personnage de fantai- un statut « culte ». Ainsi, le 28 octobre sie de l’Alliance de David de Schumann, 1853, un concert privé fut donné au le nom de « Schatzkästlein des jungen domicile de Robert et Clara Schumann, Kreislers » (le petit trésor du jeune au cours duquel Joachim eut la sur- Kreisler). Joseph Joachim y nota lui prise d’entendre une sonate pour aussi de temps à autres quelques violon basée sur le motif musical f.a.e. mots, souvent sous la forme d’un et spécialement composé à son effet aphorisme. L’un d’entre eux, particuliè- par Robert Schumann, Albert Dietrich rement saisissant, touche à la relation et Johannes Brahms. entre l’homme et l’artiste : « Seul est Brahms écrivit presque toutes un artiste complet celui pour qui la vie ses œuvres pour violon à l’intention survient pour la gloire de l’art et vice- de Joachim et demanda régulière- versa – celui pour qui l’art n’est pas ment son avis au violoniste virtuose quelque chose que l’on met et retire puisqu’il ne jouait pas lui-même de par hasard comme un bijou. » On note cet instrument. À son tour, Joachim que Joachim signa la plupart de ces pressa Brahms à maintes reprises de aphorismes par les initiales f.a.e., par- composer pour lui un concerto pour fois également sous forme de notes. violon. Cependant, il ne le voulait L’abréviation f.a.e., signifiant pas dans le style des concertos vir- « frei, aber einsam » (libre, mais seul), tuoses romantiques, mais désirait un était la devise de Joachim, que Brahms concerto symphonique dans la lignée se plut lui aussi à employer. C’est ainsi du concerto pour violon de Beethoven. qu’il écrivit à Joachim en 1888 : « Pour Grâce aux interprétations de Joachim, moi, f.a.e. demeure un symbole et je ce concerto acquit d’ailleurs à l’épo- suis heureux de lui rendre grâce en que une place au répertoire standard. dépit de tout. » Brahms avait en outre Pendant l’été 1878, que Brahms passa comme d’habitude en Autriche, à Pörtschach am Wöthersee, il composa un concerto pour violon et orchestre avec à l’idée le style d’interprétation de son ami. Joachim reçut au mois d’août quelques « passages pour le violon, à titre d’essai ». Sa réaction fut enthousiaste et les passages s’enrichi- rent rapidement pour devenir le finale du concerto pour violon en Ré majeur auquel Brahms travaillait avec achar- nement. À un moment donné, les deux mouvements centraux du concerto en quatre mouvements disparurent dans la corbeille à papier et furent remplacés par l’Adagio – le mouvement central tel que nous le connaissons aujourd’hui. Le 1er janvier 1879, Joseph Joachim joua pour la première fois le nouveau concerto pour violon de Brahms à la Gewandhaus de Leipzig, avec le com- positeur lui-même au pupitre. Le concerto pour violon de Brahms mérite à très juste titre le quali- ficatif de concert symphonique. Il suffit d’en écouter l’introduction orchestrale avec ses pas moins de 90 mesures ! Néanmoins, suffisamment de place a été ménagée pour des démonstra- tions de virtuosité, notamment dans la cadence, que Brahms avait laissé à l’imagination de Joachim, et dans le duquel il espérait que Joachim jouerait finale, tributaire du style hongrois de la partition du violon. Ce fut en effet salon, si populaire en Autriche au dix- le cas et le 18 octobre de cette même neuvième siècle. Ceci ne put toutefois année, la première de cette œuvre fut protéger l’œuvre des critiques, qui donnée à Cologne sous la direction avaient de tout autres attentes d’un de Brahms, avec Joseph Joachim au concerto solo. Hans von Bülow écrivit violon et Robert Hausmann au violon- par exemple : « Le concerto pour vio- celle. Joachim témoigna de la gratitude lon en Sol majeur de est pour le geste de Brahms et les liens pour le violon mais celui de Brahms est furent rétablis. Clara Schumann : « Ce clairement contre. » Et selon les dire, concerto est pour ainsi dire une œuvre le grand violoniste virtuose espagnol de réconciliation - Joachim et Brahms Pablo de Sarasate ne voulut pas mettre se parlent à nouveau pour la première le concerto à son répertoire car il se fois depuis des années. » refusait à écouter, son violon à la main, Le double concerto contient de le solo de hautbois d’une beauté prodi- nombreuses références musicales à gieuse qui introduit la partie lente. l’amitié entre Joachim et Brahms. Il La relation entre Brahms et renvoie par exemple plusieurs fois Joachim se rafraîchit sérieusement au concerto pour violon en la mineur lorsqu’en 1880, durant le divorce de de Giovanni Battista Viotti, l’une des Joachim et de sa femme, la mezzo- œuvres préférées de Joachim, que soprano Amalie Schneeweiss, Brahms Brahms adorait lui aussi. Mais il y a prit partie pour cette dernière. Clara plus encore. Le matériel thématique Schumann rapporte que les deux amis du premier mouvement est basé sur refusèrent même de se parler pendant le motif f.a.e. Lorsque les solistes atta- un certain nombre d’années, bien que quent avec un passage en forme de Joachim ait continué à interpréter la cadence sur le thème principal, c’est musique de Brahms. Pour sortir de le violon solo qui ouvre la marche cette impasse, Brahms écrivit pen- avec les notes f.e.a (une inversion que dant l’été 1887 un double concerto Joachim utilisait lui aussi bien souvent). pour violon, violoncelle et orchestre, Puis à la fin du premier mouvement, après plusieurs dialogues entre les ins- truments solo, vient un long passage dans lequel les deux solistes jouent en tierces : un symbole musical de l’ami- tié retrouvée ? « Libre, mais seul », la devise de l’amitié entre Brahms et Joachim, deux grands maîtres qui furent liés par leur approche capricieuse de la vie. Car comme Joachim qui, après l’échec de son mariage ne voulut plus jamais se lier à autre une femme, Brahms ne se maria jamais. Juste avant d’entamer son double concerto, il écrivit à son PTC 5186 059 « amie de cœur » Clara Schumann : « J’ai besoin de solitude absolue, non seulement pour pouvoir offrir ce que j’ai de mieux, mais aussi et tout simplement pour suivre mes pro- pres pensées. C’est dans ma nature. Par ailleurs toutefois, cela s’explique facilement : après tout, quelqu’un qui comme moi jouit de la vie et de l’art, est seulement trop pressé de jouir des deux – et d’oublier tout le reste. Peut- être est-ce également la façon la plus correcte et la plus raisonnable d’agir. Mais actuellement, avec une nouvelle grande œuvre sous les yeux, j’en suis PTC 5186 064 toujours relativement satisfait et je dois me dire : je ne l’aurais pas écrite si j’avais joui de la vie avec exubérance le long du Rhin et à Berchtesgaden. » Ronald Vermeulen Traduction française : Brigitte Zwerver-Berret

PTC 5186 072 PTC 5186 094

PTC 5186 085 PTC 5186 095 Polyhymnia specialises in high-end recordings of acoustic music on location in concert halls, churches, and auditoriums around the world. It is one of the worldwide leaders in producing high-resolution surround sound recordings for SA-CD and DVD-Audio. Polyhymnia’s engineers have years of experience recording the world’s top classical artists, and are experts in working with these artist to achieve an audiophile sound and a perfect musical balance. Most of Polyhymnia’s recording equipment is built or substantially modified in-house. Particular emphasis is placed on the quality of the analogue signal path. For this reason, most of the electronics in the recording chain are designed and built in-house, including the microphone preamplifiers and the internal electronics of the microphones. Polyhymnia International was founded in 1998 as a management buy-out by key personnel of the former Philips Classics Recording Center. For more info: www.polyhymnia.nl

Technical Information

Recording facility: Polyhymnia International BV Microphones: DPA 4006 and 4011, Schoeps mk2S and Neumann km140. with Polyhymnia microphone buffer electronics. Microphone pre-amps: Custom build by Polyhymnia International BV and outputs directly connected to Meitner DSD AD converter. DSD recording, editing and mixing: Pyramix Virtual Studio by Merging Technologies Surround version: 5.0

Monitored on B&W Nautilus loudspeakers.

Microphone, interconnect and loudspeaker cables by van den Hul. HYBRID MUL

TICHANNEL

PTC 5186 066