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The Franchomme Project

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The Franchomme Project 1 DE 3469 0 13491 34692 2 The Franchomme Project: Newly discovered works by Auguste Franchomme Louise Dubin, Julia Bruskin, Sæunn Torsteinsdóttir and Katherine Cherbas, cellists; Hélène Jeanney and Andrea Lam, pianists (All compositions and arrangements by Auguste Franchomme except where noted) 1. Frédéric Chopin: Ballade No. 2, Op. 38: 8. Caprice, Op. 7, No. 9 for two cellos Andantino; arr. for 4 cellos (transcribed by Dubin VC1, Bruskin VC2 (3:56) Louise Dubin) Dubin VC1, Bruskin VC2, Torsteinsdóttir VC3, Cherbas VC4 (2:21) 9. Solo pour le Violoncelle, Op. 18, No. 3, with piano Dubin, Lam (6:58) 2. Caprice pour le Violoncelle sur Preciosa de Weber, Op. 24, No. 2, with piano 10. Chopin: Marche Funèbre from Piano Dubin, Jeanney (5:43) Sonata No. 2, Op. 35, arr. for four cellos (transc. Dubin) Dubin VC1, Cherbas VC2, 3. Nocturne, Op. 15, No. 1 for two cellos Torsteinsdóttir VC3, Bruskin VC4 (7:43) Dubin VC1, Torsteinsdóttir VC2 (4:47) 11. Chopin: Mazurka, Op. 33, No. 3, arr. for 4. Nocturne, Op. 14, No. 1 for two cellos cello and piano Dubin, Jeanney (2:48) Dubin VC1, Bruskin VC2 (4:29) 12. Nocturne, Op. 15, No. 2, for two cellos 5. From Dix Mélodies Italiennes, Op. 17, Dubin VC1, Torsteinsdóttir VC2 (4:34) No. 6: La Norma de Bellini, arr. for cello and piano Dubin, Jeanney (5:32) 13. Nocturne, Op. 15, No. 3, for two cellos Dubin VC1, Torsteinsdóttir VC2 (5:24) 6. Caprice, Op. 7, No. 1 for two cellos Dubin VC1, Cherbas VC2 (2:08) 14. Chopin: Polonaise Brillante Précédée d’une Introduction, Op. 3, for piano and 7. Chopin: Prelude, Op. 28, No. 9, arr. for cello (cello part revised by Franchomme) four cellos (transc. Dubin) Dubin, Jeanney (9:02) Dubin VC1, Bruskin VC2, Torsteinsdóttir VC3, Cherbas VC4 (1:41) Total Time: 67:07 2 Unpublished Franchomme 3portrait from a descendant uguste Franchomme (1808-1884) provisations Chopin was known for) and was the most renowned French discussions lasted late into the night. Acellist of his time. Born in Lille, where he studied cello and composition, Franchomme was soon Chopin’s cham- he came to Paris at the age of 16 and won ber music partner of choice, and their the Paris Conservatoire’s Premier Prix in deepening friendship became an impor- a matter of months. Within fve years, he tant mooring in Chopin’s increasingly was performing his own compositions turbulent life, and a source of musical throughout Europe to great acclaim. inspiration to both. By the following Meanwhile, in Paris, he had laid the year, Franchomme had introduced Cho- foundations of a career as an orchestral pin to wealthy piano students and pa- cellist, chamber musician and teacher trons, taken him along on a vacation in that lasted the rest of his life. He played Touraine, and had even, at Chopin’s in- in the orchestras of all three Parisian op- vitation, written the cello part of their era houses, was a founding member of collaborative composition, the Grand the orchestra of the Société des Concerts Duo Concertant sur “Robert le Diable” du Conservatoire, and was appointed solo de Meyerbeer. Both men had a sense of cellist of King Louis-Philippe’s new Mu- humor, and Franchomme’s letters to sique du Roi chamber orchestra in 1832. Chopin reveal his calm, practical person- ality, which was the perfect foil to Cho- Another key moment of Franchomme’s pin’s scathing sarcasm. Franc homme’s life also occurred in 1832, when he met family home became an oasis for Cho- Frédéric Chopin. It was Franz Liszt who pin, whose life was plagued by frequent introduced the two men, still in their ear- illness, unscrupulous publishers, and ly 20s, at a farewell dinner for pianist Fer- complicated love afairs. Later, Franc- dinand Hiller. When the party dispersed, homme helped Chopin negotiate with Chopin invited Franchomme back to his publishers and loaned him money when apartment. Franchomme replied “but if I he was too ill to work. It is a testament do, you will have to play for me.” Chopin to their deep bond that Chopin dedicated agreed, and the music (perhaps the im- his last composition, the Sonata for Piano 4 and Cello, Op. 65, to Franchomme, and before his death. He published dozens tried some of it out with him before com- of original works for cello, including his pleting it. Afer Chopin’s death in 1849, caprices and etudes, which remain in Fran chomme sorted through hundreds print today. He also produced dozens of pages of manuscripts that Chopin lef of skilled arrangements and transcrip- him, and prepared several posthumous tions of works by Chopin, Liszt, Rossini, works for publication. He contributed to Donizetti, Bellini and many others. Tese the complete Chopin editions prepared include his arrangements of Mozart and by Chopin’s pupils Tellefsen (1860-65) Beethoven violin sonatas, which he per- and Mikuli (1880), and helped edit the formed in their original register. Hector Breitkopf & Härtel edition (1878-80). All Berlioz, Bernhard Romberg, Felix Men- of this work on Chopin’s music inspired delssohn, Hiller and Liszt were a few of Franchomme’s in his production of over the many composers and performers in ffy arrangements of Chopin pieces for Franchomme’s circle. Later in life, with various cello combinations, including violinist Jean-Delphin Alard, he formed the cello quartets and mazurka on this the infuential Alard Franchomme cham- album. ber music society, praised for its perfor- mances of Mozart and Beethoven. Like Despite being so celebrated that he the Société des Concerts du Conserva- was appointed Chevalier of the Légion toire (known for its revival of Beethoven d’Honneur in 1852, Franchomme is Symphonies), the mission of this group usually remembered today as Chopin’s was to champion Classical composers, in friend and collaborator. Te association reaction to what they saw as a prevailing has tended to obscure the fame Franc- taste for sensationalism over substance. homme enjoyed in his lifetime, the im- portance of his musical achievements, Although Franchomme’s career was an and his centrality to the musical culture illustrious one, fame as a soloist was not of the era. Franchomme was a beloved his top ambition. With the exception of teacher at the Paris Conservatoire where a handful of tours to England and Swit- he taught for nearly 40 years, until days zerland, Franchomme rarely performed 5 concerts outside of France and Belgium, considered sending their three young and according to Berlioz, he had “an ex- children away to boarding school, but treme reserve, a loathing to be presented decided instead to hire someone to be in the popular soirées and concerts which with them when he had to work. Even in today ensure the fortunes of virtuosos.” this era of shorter life expectancy, Franc- But it may have been a question of sched- homme sufered more than most. He out- uling more than distaste. In an 1834 letter lived two of his three children, including to his amateur cellist friend Jules Forest, his son, René, who was a virtuoso cellist Franchomme described a typical day: and a promising composer. Franchomme “Two lessons, quartets with amateurs continued balancing the demands of his from 11 to 1:30, concert at the Conserva- career—in later life with the support of toire. Dinner, then Don Giovanni. Ouf! I his surviving child Cécile—performing, am tired.” Te Musique du Roi was a top composing and teaching. Franchomme priority; as Franchomme wrote to Jules lived modestly, but his success allowed Forest in another letter, “I will not be him to purchase the Antonio Stradivari going to my two soirées on Wednesday. cello previously played by Jean-Louis Te King wants to hear me and I have to Duport. follow his order.” Sometimes the juggling act became precarious; the archives of the As a player, Franchomme combined a Société des Concerts du Conservatoire prodigious technique with a resolute- include an 1841 chastisement followed ly unfamboyant performing persona. by a letter of apology from Franchomme, Berlioz called him “the best cellist in the for missing more orchestra services than capital” and wrote, “Tere is none more permitted for outside engagements. secure than he is in the dangerous keys, nor more charming in sustained singing. Personal tragedies later encroached upon His is a calm, but exquisite talent.” Te Franchomme’s already full schedule. His journalist and music editor Léon Escu- beloved wife Amélie died in 1850, the dier described Franchomme in concert year afer Chopin’s death. Franchomme, as “almost invisible, as if he were a part wracked by grief and insomnia, briefy of his instrument… his execution is pure, 6 elevated, but it demands an audience of exciting days in Paris and Touraine, re- good taste and intelligence.” Such under- searching Franchomme’s music at the statedness did not please everyone; the Bibliothèque Nationale de France and painter Eugène Delacroix wrote in his meeting several of his direct descen- diary that he sometimes found Franc- dants, who showed me their own col- homme’s playing to be “cold and dry.” lections. It was a blissfully intense two weeks, and I could only begin to process Something of Franchomme’s restraint as the amount of information and material a performer carries over into his com- at my disposal. Franchomme’s original positions. Franchomme had a strong publications included his distinctive fn- classical streak—an afnity for elegance, gerings and bowings: a window into a beauty and sincerity. His compositions poetic style unlike any I’d encountered are full of themes from Mozart, Schubert, before. He relished vocal fngerings with and bel canto opera composers, whose slides in both directions, a liberal use of melodies he loved.
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