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BEETHOVEN TRIOS for Piano, Clarinet & Cello Éric Le Sage PAUL MEYER CLAUDIO Bohórquez MENU › TRACKLIST › Français › English › Deutsch

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BEETHOVEN TRIOS for Piano, Clarinet & Cello Éric Le Sage PAUL MEYER CLAUDIO Bohórquez MENU › TRACKLIST › Français › English › Deutsch BEETHOVEN TRIOS FOR PIANO, CLARINET & CELLO ÉRIC LE SAGE PAUL MEYER CLAUDIO BOHÓRQUEZ MENU › TRACKLIST › FRANÇAIS › ENGLISH › DEUTSCH LUDWIG VAN beethoven (1770-1827) TRIO FOR PIANO, CLARINET AND CELLO IN B FLAT MAJOR, OP.11 ‘gassENHAUER’ 1 I. ALLEGRO CON BRIO 9’12 2 II. ADAGIO 4’57 3 III. TEMA CON VARIAZIONI 6’15 TRIO FOR PIANO, CLARINET AND CELLO IN E FLAT MAJOR, OP.38 (AFTER SEPTET OP.20) 4 I. ADAGIo – allegro con brIO 9’30 5 ii. ADAGIO CANTABILE 7’56 6 iii. TEMPO DI MENUETTO 3’10 7 IV. TEMA CON VARIAZIONI. ANDANTE 6’43 8 V. SCHERZO. ALLEGRO MOLTO E VIVace – trIO 3’05 9 VI. ANDANTE CON MOTO, ALLA MARCIa – presto 7’19 TOTAL TIME: 58’07 ÉRIC LE SAGE PIANO PAUL MEYER CLARINET CLAUDIO BOHÓRQUEZ CELLO › MENU AIS NÇ RA LES TRIOS OPUS 11 ET 38 F DE BEETHOVEN PAR NICOLAS SOUTHON Lorsque Ludwig van Beethoven écrit son Trio pour piano, clarinette et violoncelle opus 11 en 1798, il est déjà connu des Viennois comme un improvisateur remarquable et un ambitieux compositeur. Depuis son arrivée de Bonn en 1792, Beethoven cherche à s’imposer comme un pianiste- compositeur dans la lignée de Mozart. C’est chez le prince Lichnowsky, l’un de ses premiers soutiens, qu’il révèle son opus 1 en 1795 : trois trios pour piano, violon et violoncelle, qui affirment déjà sa stature de créateur et élargissent le cadre traditionnel du genre. Le trio suivant, opus 11, est en revanche plus léger, plus aimable même, visant cette fois moins à impressionner qu’à séduire : il s’adresse clairement à l’aristocratie éclairée et aux amateurs de bon niveau. Cela n’empêchera pas la critique, quoique globalement positive, de juger la partition parfois trop recherchée. Beethoven la destine probablement au clarinettiste Joseph Bähr, attaché à la cour de Prusse à Potsdam. Achevé en 1798, le Trio opus 11 est dédié à la comtesse Maria Wilhelmine von Thun (belle-mère du comte Lichnowsky), qui avait déjà soutenu Gluck, Haydn et Mozart. Après sa création en octobre chez le comte de Fries, l’œuvre est publiée chez Mollo. Son surnom, « Gassenhauer », en référence à l’air connu utilisé dans le dernier mouvement, désigne une rengaine populaire chantée dans les rues (« Gassen ») par tout un chacun. Le brillant Allegro con brio expose deux thèmes aux premières notes apparentées. De forme sonate et d’une expression aisée, il est empli de contrastes dynamiques. Le beau thème de l’Adagio, d’abord énoncé au violoncelle con espressione, est dérivé de celui du Menuet de la Sonate pour piano opus 49 no 2 de 1796 (les deux œuvres partageant les mêmes esquisses) ; on verra plus loin que le Septuor est aussi impliqué dans ce réseau d’emprunts. Après un développement libre, le thème revient enrichi d’une abondante ornementation. AIS Le Tema con variazioni contribue grandement au caractère léger de l’œuvre (selon Carl Czerny, NÇ RA Beethoven aurait plus tard regretté de ne pas avoir composé un finale plus sérieux). Le thème F utilisé est en effet celui du trio « Pria ch’io l’impegno » de l’opéra-comique de Joseph Weigl L’amor marinaro ossia Il corsaro (L’Amour marinier ou Le Corsaire), qui triompha à Vienne en octobre 1797. Beethoven caractérise clairement chacune des neuf variations qui suivent, pleines d’esprit, sans hésiter à faire oublier le thème (no 1 : piano solo brillant ; no 2 : clarinette et violoncelle en canon ; no 3 : dialogue des trois instruments con fuoco ; no 4 : ton mineur, des accords de piano alternent avec les autres instruments ; no 5 : de brillantes gammes du piano soutiennent les autres instruments ; no 6 : le thème déstructuré est partagé entre les instruments ; no 7 : ton mineur, accords de piano et rythmes martiaux ; no 8 : les instruments mélodiques chantent, accompagnés par le piano ; no 9 : piano en octaves, jeu d’imitations entre les instruments ; Allegro conclusif sur des motifs du thème). L’année suivante, en 1799, Beethoven commence son Septuor pour violon, alto, violoncelle, contrebasse, clarinette, basson et cor opus 20. Achevé en 1800, il est donné en privé chez le prince de Schwarzenberg puis créé le 2 avril au Burgtheater, lors du premier concert viennois organisé par Beethoven à son bénéfice (sa Symphonie no 1 y est aussi créée). Dédié à l’impératrice Marie-Thérèse d’Autriche, le Septuor est publié en 1802 chez Hofmeister. Bien reçu, il est transcrit pour diverses formations, Beethoven lui-même se chargeant d’une adaptation pour clarinette (ou violon), violoncelle et piano – celle enregistrée ici. Cette transcription paraîtra en 1803 sous le numéro d’opus 38, dédiée à Johann Adam Schmidt, médecin du compositeur et bon violoniste. Dans les années qui suivent, la popularité du Septuor irrite Beethoven, amer d’être sans cesse ramené à cette partition relativement classique, alors qu’il cherche désormais à repousser les frontières de la création. « Il y a là-dedans beaucoup d’imagination mais peu d’art, aurait-il même déclaré vers 1815 à propos de l’œuvre. En ce temps-là, je ne savais pas composer. Maintenant je crois que je le sais. » Cette popularité, le Septuor de Beethoven la doit à son mélange de dynamisme et de grandeur, de simplicité et d’éclat. Sa structure assez libre, son style chantant et accessible évoquent les genres AIS NÇ du divertimento et de la sérénade, pratiqués par Haydn et Mozart – on remarque ainsi la proximité RA du Septuor avec le Divertimento K. 563 de Mozart, dont il partage la tonalité et l’architecture. F Un Adagio introduit l’Allegro con brio, de forme sonate et au premier thème bien dessiné. Le développement se concentre sur ce dernier, avant la récapitulation et une large coda. De forme ternaire, l’Adagio cantabile repose sur un thème fervent introduit à la clarinette. Ses évolutions, d’une grande économie de moyens et plus sombres dans la partie centrale, créent le sentiment d’une grande plénitude. Le thème du Tempo di Menuetto provient du Menuet de la Sonate pour piano opus 49 no 2 (déjà citée car ayant inspiré l’Adagio du Trio opus 11). Dans la section centrale, les instruments se répondent malicieusement. Le Tema con Variazioni repose sur une mélodie d’esprit populaire, énoncée au violon puis à la clarinette – selon Czerny, il s’agirait de la chanson de batelier rhénan « Ach Schiffer, Lieber Schiffer ». Suivent cinq variations et une coda (no 1 : dialogue piano-violoncelle ; no 2 : thème orné au piano, brèves interventions des autres instruments ; no 3 : duo violoncelle-clarinette ponctué par le piano ; no 4 : ton mineur, les violoncelle et clarinette chantent de longues phrases accompagnées au piano ; no 5 : polyphonie calme et régulière, nuance dolce ; coda dans la continuité de la cinquième variation). Le Scherzo (indiqué Allegro molto e vivace), presque humoristique, renferme un trio contrastant, dans lequel le violoncelle se voit confier une charmante cantilène. Un Andante con moto alla Marcia douloureux et solennel introduit le Presto final, mouvement perpétuel volubile fondé sur deux thèmes. Après un développement central, une cadence du piano conduit à la récapitulation, suivie d’une coda. › MENU BEETHOVEN’S TRIOS OP.11 AND OP.38 BY NICOLAS SOUTHON H By 1798, the year Ludwig van Beethoven composed his Trio for piano, clarinet and cello op.11, he LIS was already well-known in Vienna as a remarkable improviser and an ambitious young composer. ENG Since his arrival from Bonn in 1792, Beethoven had attempted to make his mark as a pianist- composer in the tradition of Mozart. It was at the house of Prince Lichnowsky, one of his first patrons, that he had unveiled his Opus 1 in 1795: three trios for piano, violin and cello extending the traditional framework of the genre, and already affirming his stature as a composer. This next trio, Op.11, was by contrast much lighter and more genial, trying this time less to impress and more to charm: the piece was clearly aimed at the enlightened aristocracy, as well as competent musical amateurs. This did not prevent the critics, though universally positive, from judging the score to be over-complex in places. Beethoven had probably intended it for the clarinettist Joseph Bähr, then engaged at the Prussian court at Potsdam, and it was dedicated to Countess Maria Wilhelmine von Thun (Prince Lichnowsky’s mother-in-law), who had already given support to Gluck, Haydn and Mozart. Following its first performance in October at the house of Count Moritz von Fries, the work was published in Vienna by Tranquillo Mollo. Its nickname ‘Gassenhauer’ is taken from the theme of the finale: the word means a popular tune sung in the streets (‘Gassen’) by all and sundry. The brilliant Allegro con brio is a sonata form movement in a relaxed mood, yet full of dynamic contrast, presenting two main themes that each begin in a similar way. The beautiful theme of the Adagio movement, introduced by the cello con espressione, is taken from the Minuet of the Piano Sonata Op.49 No.2 of 1796; the two works share the same sketches – and as we shall see, the Septet also belongs to the same nexus of self-borrowings. After developing freely, the theme returns, enriched with abundant ornamentation. The Tema con variazioni greatly contributes towards the work’s lighthearted character – though according to Carl Czerny, Beethoven later regretted not having composed a more weighty finale. The theme is that of the trio ‘Pria ch’io l’impegno’ from Joseph Weigl’s L’amor marinaro ossia Il corsaro (The Seafarer’s Love, or The Buccaneer), a comic opera that was a resounding hit in Vienna in October 1797.
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