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BEETHOVEN Ludwig Van Beethoven 1770-1827 JRICIA KOPATCHINSKAJA ORCHESTRE DES HAMPS-tLYStEES PHILIPPE HERREWEGHE BEETHOVEN ludwig van beethoven 1770-1827 concerto for violin and orchestra, op.61 1806 romance nO.1 for violin and orchestra, op.40 1801-1802 romance nO.2 for violin and orchestra, op.50 1798 concerto for violin and orchestra, woo 5, fragment 1790-1792 patricia kopatchinskaja VIOLIN orchestre des champs-elysees philippe herreweghe CONDUCTOR Patricia Kopatchinskaja plays only /he fragment wi/hout tne completion by Hellmesberger's or anyone else. Philippe Herreweghe and /he Orches/re des Champs·tlysees appear by courtesy of Harmonia Mundi ludwig van beethoven 1770-1827 orchestre des charnps-elysees philippe herreweghe DIRECTEUR MUSICAL I MUSIC DIRECTOR I CHEFDIRIGENT concerto for violin and orchestra in d major I concerto pour violon et orchestre en re majeur I konzert fOrvioline und orchester in d-dur op. 61 VIOLONS 1 I FIRST VIOLINS I VIOLIN EN I Alessandro Moccia, lIaria Cusano, Assim Delibegovic, Pascal Hotellier, Cadenzas by Beethoven from his piano version of the Concerto (adapted for violin by Patricia Kopatchinskaja) Therese Kipfer, Corrado Lepore, Martin Reimann, Nicole Tamestit, Sebastian Van Vucht, Marie Viaud 1 Allegro non troppo 22'41 VIOLONS 2 I SECONO VIOLINS I VIOLINEN II Benedicte Trotereau, Marieke Bouche, Adrian Chamorro, 2 Larghetto 9'13 Isabelle Claudet, Solenne GUilbert, Jean-Marc Haddad, Clara Lecarme, Andreas Preuss, Enrico Tedde 3 Rondo (Allegro) 9'05 ALTOS I VIOLAS I BRATSCHEN Catherine Puig, Marie-Elsa Bretagne, Laurent Bruni, Ma'ilyss Cain, 4 romance nO.2for violin and orchestra in f major I romance n° 2 Delphine Grimbert, Luigi Moccia, Wendy Ruymen pour violon et orchestre en fa majeur I romanze fOrvioline und orchester nr. 2 in f-dur op. 50 7'28 VIOLONCELLES I CELLOS I VIOLONCELLI Ageet Zweistra, Fabrice Bihan, Vincent Malgrange, Jennifer Morsches, Andrea Pettinau, Harm-Jan Schwitters 5 romance nO.1for violin and orchestra in g majorl romance n° 1 CONTREBASSES I DOUBLE BASSES I KONTRABiissE Axel Bouchaux, Joseph Carver, Damien Guffroy, pour violon et orchestre en sol majeur I romanze fOr violine und orchester Michel Maldonado, Massimo Tore nr. 1 in g-dur op. 40 6'01 FLOrE I FLUTE I FLOTE Mathias Von Brenndorff 6 concerto for violin and orchestra in c major, woos, fragment HAUTBOIS I OBOES I OBOEN Marcel Ponseele, Taka Kitazato of the first movement I concerto pour violon et orchestre en ut majeur, fragment du premier mouvement, woo 5 I konzert fOrvioline und orchester CLARINETTES I CLARINETS I KLARINETTEN Nicola Boud, Daniele Latini in c-dur woo 5, fragment des ersten satzes 7'35 BASSONS I BASSOONS I FAGOTTE Margreet Bongers, Jean-Louis Fiat CORS I HORNS I HORNER Rafael Vosseler, Christiane Vosseler TROMPETTES I TRUMPETS I TROMPETEN* Alain De Rudder, Leif Bengtsson TIMBALES I TIMPANI I PAUKEN* Marie-Ange Petit • Only in Violin Concerto 1....- _ Ie concerto pour violon et les romances de beethoven par robin stowell Beethoven a compose son Concerto pour violon en re majeur, opus 61, a Vienne en 1806, Ie compositeur, pianiste et edlteur Muzio Clementi a ete I'instigateur, a inspire a Beethoven la quelques annees acres son fragment de concerto pour violon WoO 5 (1790-1792) et ses deux composition de quelques cadences originales, celie pour Ie premier mouvement impliquant Ie Romances opus 40 en sol majeur (1801-1802) et opus 50 en fa majeur (vers 1798). Le desti- timbalier de I'orchestre. nataire en etait Franz Clement (1780-1842), comme I'indique Ie jeu de mots amusant de Le concerto pour violon de Beethoven a recu un accueil rnitiqe. Certains critiques ont fait des Beethoven en tete de sa partition manuscrite : « Concerto par Clemenza pour Clement. .. » Leur remarques a propos de sa longueur, de son oriqinalite et de nombreux passages magnifiques, arnitle a cette epoque etalt tondee sur un respect et une admiration mutuels. Clement etalt pre- mais sous la plume de I'influent Johann Nepomuk Moser, on peut lire que « sa continulte semble mier violon de I'orchestre du Theater an der Wien (1802-1811), I'un des meilleurs violonistes de souvent cassee et que la repetition incessante de certains passages banals a tendance a devenir son temps et I'un des rares musiciens viennois que Beethoven tenait en grande estime. II s'etalt fastidieuse », Selon Schindler, une deuxeme execution, en 1807, a connu davantage de succes, aussi fait Ie champion de la musique de Beethoven et en tirait manifestement beaucoup d'ins- mais au cours des trois decennies suivantes, les autres executions semblent avoir ete rarissimes. piration. Celles qu'ont donnees Luigi Tomasni, fils (Berlin, 1812), Pierre Baillot (Paris, 1828), Henri 1806 fut une amee de bonheur relatif pour Beethoven. Apres la Sonate « Waldstein -opus 53, il Vieuxtemps (Vienne, 1834) et Ulrich (Leipzig, 1836) se distinguent durant cette perlode ou I'reuvre avait enchaine la composition de plusieurs chefs-d'reuvre : la petite et subtile sonate en fa majeur a ete negligee. C'est un adolescent de treize ans, Joseph Joachim, qui a fait revivre ce concerto, opus 54; les troisierne et quatrlerne symphonies opus 55 et 60 ; 1'«Appassionata» opus 57 ; sous la direction de Mendelssohn, a Londres Ie 27 mai 1844, debut d'une longue et fructueuse Ie concerto pour piano n° 4 opus 58 ; les trois quatuors « Razumovsky » opus 59 ; et Ie concerto association avec cette reuvre. pour violon opus 61. Au cours de la merne periode, il avait aussi compose les deux premieres Beethoven a integre dans son style « heroique » de la periode mediane la manlere militaire d'une versions de Fidelia, et son Triple Concerto, opus 56, etalt deja bien avance. II avait commence a grande partie de la musique trancaise de l'epoque, partlculerement celie des operas delivrance vivre avec sa surdite, et la poesle et Ie bonheur qui se trouvent dans son concerto pour violon et des concertos pour violon de « l'ecole Viotti », En effet, il ya des paralleles frappants entre laissent supposer une satisfaction rare dans sa vie tumultueuse. les premiers mouvements en forme de marche de ces concertos et Ie mouvement initial de celui de Beethoven, ou Ie motif entrainant des timbales apparait sous diverses formes d'un bout a Beethoven a manifestement acheve son concerto pour violon a la hate, ce qui a laisse peu de I'autre. Le Iyrisme simple du Larghetto de Beethoven retlste celui des mouvements lents des temps pour les repetitions. Dans son manuscrit, il a attribue quatre portees a la partie de violon concertos de Viotti ; il s'enchaine au Rondo final et prend ses racines dans la forme variation, solo afin de laisser de la place pour des modifications et des variantes. Clement a cree cette incorporant, comme I'a rernarque Owen Jander, un element caractertstlque de chaconne. I'ecriture ceuvre lors de son concert de bienfaisance annuel, Ie 23 decernbre 1806 ; elle a ete publlee a de Beethoven pour Ie sollste, surtout dans les mouvements externes, trahit aussi I'influence fran- Vienne, en aoOt 1808, avec une decicace a I'ami du compositeur, Stephan yon Breuning. Le calse, Boris Schwarz a soulione que plusieurs passages en octaves brtsees et en sixtes rappellent rnerne mois a egalement vu la publication du propre arrangement de l'reuvre par Beethoven des traits utilises precedernrnent par Viotti et Kreutzer. Cependant, il y a aussi des influences sous forme de concerto pour piano, avec une dedicace a la femme de yon Breuning, Julie. Aucune autrichiennes manifestes, a commencer par Ie style de jeu et de composition de Clement, que cadence-originale ne nous est parvenue pour la version pour violon ; mais I'arrangement, dont I'on retrouve dans son propre concerto pour violon en re majeur, qu'il avait cree une vingtaine de mois plus tot lors de son concert de bienfaisance au Theater an der Wien, Ie 7 avril 1805. Et version finale lrnprlmee de ce concerto apres sa creation. En outre, d'apres certains ternoi- I'opus 61 de Beethoven a tant d'elernents en commun avec cette reuvre (notamment sa concep- gnages, Beethoven ne considerait pas Ie texte de la partie soliste de I'autographe ou de la pre- tion, ses dimensions, son orchestration et de nombreuses figurations du soliste) qu'il semble miere edition comme definitif, en particulier en ce qui concerne les indications relatives aux avoir ete influence par elle, consciemment ou tout a fait par hasard. coups d'archet. Clement devait sa celebr!te a sa dexterife technique et a la finesse de son jeu, ainsi qu'a sa Patricia Kopatchinskaja livre aussi ses propres arrangements des cadences originales de la version mernolre exceptionnelle. A la lecture des critiques, on peut deduire que son style de jeu elegant pour piano. Ceux-ci ont lnevltablement requis la superposition de plusieurs enregistrements, de et gracieux ditterait totalement de celui de la plupart de ses contemporains, partlcuuerement de rnaniere a transcrire la totalite de la partie de piano au violon. En outre et d'une rnanlere decisive, celui d'autres violonistes evoluant dans Ie cercle de Beethoven tel Rodolphe Kreutzer, Pierre elle a adopte des tempos flu ides, conservant en gros les indications rnetronomiques (Allegro Rode, George Polgreen Bridgetower et Ignaz Schuppanzigh. Comme l'ecrivait Ie correspondant non troppo : noire = 126 ; Larghetto: noire = 60; Rondo: noire polntee = 100) fournies par de l'Allgemeine musikaiische Zeitung en 1805, il ne se distinguait « pas par un jeu puissant, Carl Czerny pour la version pianistique dans son Vollstandige theoretisch-praktische Pianoforte- marque, audacieux, l'Adagio captivant et saisissant, la puissance de I'archet et du son qui Schute, opus 500 (1839), tout en autorisant Ie rubato et d'autres subtilites d'expression. Ces caractertsent l'ecole Rode-Viotti », En revanche, Ie jeu de Clement possedait « une delicatesse, precleuses indications de tempo, particulierernent dans Ie premier mouvement et dans Ie finale, une nettete et une elegance indescriptibles, une sensibilite et une proprete absolument merveil- sont les plus proches de l'ideal de Beethoven dont nous disposons.
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