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) é g r e Guylaine Girard, soprano B e l o Sophie Marilley, mezzo-soprano c i N © Bernard Richter, tenor o t o h Alain Buet, baritone p ( t e Marie-Josèphe Jude, piano u q i N Jean-François Heisser, piano é v r e H Flemish Radio Choir Coryphées : Hilde Venken, Marianne Byloo, Emilie De Voght Brussels Philharmonic - the Orchestra of Flanders Hervé Niquet Works with choir and piano recorded at Jezuïetenkerk, Heverlee (Belgium), on 25 and 26 June 2009 Works with orchestra recorded at Salle Fiocco, La Monnaie, Brussels, on 1-3 July 2009 Engineered by Manuel Mohino Produced by Manuel Mohino and Hervé Niquet Executive producer & editorial director: Carlos Céster Editorial assistance: María Díaz Design: Valentín Iglesias Translations: Mark Wiggins ( eng , essays), Mary Pardoe ( eng , sung texts), Susanne Lowien ( deu ), Pedro Elías ( esp ) © 2009 MusiContact GmbH Claude Debussy (1862-1918) 09 La Damoiselle élue 18:45 Poème lyrique ( envoi from Rome, Paris, 1888) Music for the Prix de Rome Solo soprano and mezzo-soprano, female choir and piano Text adapted from Dante Gabriel Rossetti, French translation by Gabriel Sarrazin Guylaine Girard, La Damoiselle – Sophie Marilley, La Récitante – Jean-François Heisser, piano cd 1 [48:17] 01-07 Le Gladiateur 24:27 cd ii [53:52] Cantate (runner-up at the Prix de Rome, Paris, 1883) Soprano, tenor, bass and orchestra Text by Émile Moreau 01-02 Printemps 16:05 Edition by Thibault Perrine, following the manuscript in the Bibliothèque nationale de France, Département de la musique Suite symphonique ( envoi from Rome, Villa Medici, 1887) 01 Prélude et récit : Mort aux Romains... (Narbal) 3:22 Mixed choir and piano, four-hands 02 Air : Ô peuple habile... (Narbal) 2:58 (Reconstruction by Cyril Bongers) 03 Invocation : Baal, source de feu... et scène (Narbal, Fulvie) 4:06 01 Très modéré 9:05 04 Duo : Trop tard, j’ai compris ton émoi... (Fulvie, Narbal) 1:50 02 Moderato 7:00 05 Duo : L’impatience populaire... (Fulvie, Narbal) 5:13 Hilde Venken, Marianne Byloo, Emilie De Voght, coryphées 06 Scène et trio : Ma fille ! Dans les bras de cet homme !... (Fulvie, Narbal, Métellus) 5:02 Marie-Josèphe Jude, Jean-François Heisser, piano, four-hands 07 Scène : Ô Fulvie !... Adieu... (Fulvie, Narbal, Métellus) 1:56 Guylaine Girard, Fulvie – Bernard Richter, Narbal – Alain Buet, Métellus 03 Le Printemps 4:54 Chœur (test piece for the Prix de Rome, Paris, 1884) 08 Invocation 4:50 Solo soprano, mixed choir and piano, four-hands Chœur (test piece for the Prix de Rome, Paris, 1883) Text by Jules Barbier (Arrangement for piano, four hands by Cyril Lehn) Solo tenor, male choir and piano, four-hands Text by Alphonse de Lamartine Guylaine Girard, solo soprano Marie-Josèphe Jude, Jean-François Heisser, piano, four-hands Bernard Richter, solo tenor – Marie-Josèphe Jude, Jean-François Heisser, piano, four-hands 4 5 04 Salut Printemps 4:16 Chœur (test piece for the Prix de Rome, Paris, 1882) Solo soprano, female choir and piano, four-hands Text by Anatole de Ségur Guylaine Girard, solo soprano Marie-Josèphe Jude, Jean-François Heisser, piano, four-hands 05-12 L’Enfant prodigue 27:58 Cantate (First Prize at the Prix de Rome, Paris, 1884) Soprano, tenor, bass and orchestra Text by Édouard Guinand (Edition by Cyril Bongers, following the manuscript in the Bibliothèque nationale de France, Département de la musique) 05 Prélude 2:05 06 Récit et air : L’année en vain chasse l’année !... (Lia) 4:42 07 Cortège et air de danses 3:13 08 Récit et air : Ces airs joyeux, ces chants de fête... (Azaël) 4:41 09 Scène : Je m’enfuis... (Lia, Azaël) 3:06 10 Duo : Heures fortunées !... et scène (Lia, Azaël) 4:36 11 Air : Faîtes silence !... et scène (Lia, Azaël, Siméon) 2:45 12 Choral : Gloire à toi Seigneur... (Lia, Azaël, Siméon) 2:56 Guylaine Girard, Lia – Bernard Richter, Azaël – Alain Buet, Siméon Henri-Louis Pinta, Claude Debussy . Official portrait made at the Villa Medici, Rome. 6 7 The Orchestra The Choir concertmaster Patricia Van Reusel clarinet soprano tenor Lei Wang Anna Tkatchouk Anne Boeykens (leader) Karen Lemaire Ivan Goossens Justyna Yaniak Danny Corstjens (2nd clarinet) Hildegarde Van Overstraeten Frank De Moor first violin Barbara Peynsaert Hilde Venken Paul Schils Ezequiel Larrea (leader) Eva Frühauf bassoon Nadine Verbrugghe Paul Foubert Maurits Goossens (soloist) Laure Renaud-Goud Luc Verdonck (leader) Emilie De Voght Henk Pringels Philippe Tjampens Alexander Kuksa (2nd bassoon) Alissa Vaitsner cello Eva Goudie-Falckenbach Roel Willems Lucie Delvaux Luc Tooten (leader) french horn Sharzad Djanati Karel Steylaerts (soloist) Michaela Rohacova-Buzkova (leader) contralto bass Stefan Claeys Livin Vandewalle Evi Baetens (2nd French horn) Lena Verstraete Philippe Souvagie Andrei Dudek Barbara Gerarts Bart Cypers (soloist) Marianne Byloo Joris Derder Isabelle Liagre Kirsten Andersen Gerry Liekens (4th French horn) Marleen Delputte Jan Van der Crabben Saartje De Muynck Jan Baerts Marijke Pyck Conor Biggs Persida Dharda Anja Naucler trumpet Paulina Sokolowska Hélène Viratelle Ward Hoornaert (leader) Helena Bohuszewicz Lieven Deroo Ewa Bobrowska Luc Sirjacques (2nd trumpet) Saartje Raman Kristof Aerts bass Bram Mergaert (3rd trumpet) second violin Marc Saey (leader) Ivo Lintermans (leader) Thomas Fiorini (soloist) trombone Marc Steylaerts (soloist) Martin Rosso David Rey (leader) Bruno Linders Martje Hermans Thomas Moore (2nd trombone) Yuki Hori Marc Demesmaeker Tim Van Medegael (bass trombone) Ion Dura Ariel Eberstein Karine Martens tuba Francis Vanden Heede flute Hugo Mathyssen (soloist) Annelies Broeckhoven Fatin Khuri (leader) Olivia Bergeot Eric Mertens (2nd flute) percussion Cristina Constantinescu Dirk De Caluwe (3rd flute & piccolo) Gert D’Haese (leader) Radostina Tchalakova Tom Pipeleers David Roelants oboe Gerrit Nulens Joost Gils (leader) viola Maarten Wijnen (2nd oboe) harp Jeroen Robbrecht (leader) Lode Cartrysse (English horn) Karen Peeters Stephan Uelpenich (soloist) Anna Przeslawska 8 9 English English given text. The crucial stage, however, was the com - were all heard in deplorable conditions, completely bilities: the organization of the competition was position of a cantata or scène lyrique on a historical, preventing them from being appreciated objectively. removed from the Académie and bestowed jointly on biblical, romantic or mythological subject. The Unquestionably, 1830 stands as the key turning the École des Beaux-Arts and (for music) on the librettos for these cantatas endeavoured to repro - point in the history of the Prix de Rome. Although Conservatoire. The decision followed a number of duce, during the course of some twenty minutes, the attempts have been made to diminish the impact of years of reflection, the aim of which was to establish essence of the dramatic situations with which a com - the July Revolution upon people’s mindsets, one originality as the corner stone of a state artistic poli - poser of opera might come up against. The leading should still remember that even within the suppos - cy. A question, therefore, of bringing academicism names in French music pitted themselves against this edly conservative context of the Prix de Rome a closer to contemporary taste. Among the principal test: Halévy, Berlioz, Thomas, Gounod, Bizet, great upheaval took place. The first important alterations introduced in the competition, the first Massenet, Debussy, Ravel... leaving behind hundreds change came in 1831, when the cantata was now no concerned the members of the jury. In future there Claude Debussy of works, still little-known today. longer to be written for one solo voice and orchestra, would be nine of these drawn, by lot, by the Ministry The history of the Prix de Rome represents but for two characters and soon a third role was to of Culture. For the candidates there were additional Music for the Prix de Rome nothing less than the history of French music, be added. This form of experimentation reveals the changes of a practical nature: the age limit was fixed reduced to the notion of a single principal thread important stakes in play: compared to the moderni - at 25 years; henceforward the State would bear com - stretching all the way from 1803 through to 1968. It is ty of “grand opera” in the manner of Meyerbeer – in plete responsibility for the costs incurred during the The Prix de Rome for Music surely significant that a section of the audience at the as much as the form is concerned – and to the surge preliminary tests; only one prize would be awarded Alexandre Dratwicki annual public performance held at the Académie des in enthusiasm for a new musical style – Romanticism and the duration of the stay in Rome would be short - Beaux-Arts – where the winning cantata was per - – the cantata was required to relate to the taste and ened to four years, as opposed to the five previously. Created in 1666 jointly by Charles Le Brun and Jean- formed each year – represented the then current spirit of the time. The reason for this basically being However, in the autumn of 1871, the fall of the Baptiste Colbert, the Académie de France in Rome political and artistic elite, added to which would be that its sole objective was to test the ability of the Second Empire led to a “return to order” in academ - only became open to the discipline of music in 1803, music writers from the newspapers and theatre direc - candidates in composing for the stage. If the musical ic activities. Whilst the Third Republic appeared to when the institution was moved to the prestigious tors. The gathering of such key figures helps to explain style for reformed dramatic music changed, this be oscillating between monarchical and republican Villa Medici, which had recently been acquired by why leading singers were happy to lend their support happened also because of the librettos which were tendencies the Prix de Rome returned to its original Napoleon Bonaparte.
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    1 Jann C. Pasler [email protected], www.writingthroughmusic.com Musicologist, pianist, documentary filmmaker, and distinguished professor, Pasler has published widely on new American and French music, interdisciplinarity, interculturality, race, gender, and radio. In recent years, her work on why music mattered in Third Republic France has expanded to music, new media, and governance in the French colonial and postcolonial culture, 1860s-1960s, with particular emphasis on North Africa, Senegal, and Vietnam Pasler’s wide-ranging and perceptive approaches to musical biography, history, and especially music and its effects on society and culture challenge readers to rethink assumptions about important contemporary issues, including the complexity and dynamism of national and colonial identities and the economics of power. Her article, “The Utility of Musical Instruments in the Racial and Colonial Agendas of Late Nineteenth-Century France,” Journal of the Royal Musical Association Vol. 129, No. 1 (Spring 2004), won the Colin Slim award from the American Musicological Society for the best article in 2005 by a senior scholar. In recent years, she has published four books: Writing through Music: Essays on Music, Culture, and Politics (Oxford University Press, 2008); Composing the Citizen: Music as Public Utility in Third Republic France (University of California Press, 2009), ASCAP Deems Taylor Award for the best book on classical music (2010); Saint-Saëns and his World (Princeton University Press, 2012); and La République, la musique et le citoyen, 1871-1914, Bibliothèque des histoires (Paris: Editions Gallimard, March 2015), Prix de l’essai, Fondation Singer-Polignac, Paris (March 2016). At the National Humanities Center (2006-07) and the Institut d’études avancées in Nantes, France (January-June 2010), and with support from the National Endowment for the Humanities (2010-11) and the CAORC (2016), she is writing a book on music and French colonialism.
  • Massenet and the Mediterranean World

    Massenet and the Mediterranean World

    INTERNATIONAL CONFERENCE MASSENET AND THE MEDITERRANEAN WORLD 30 NOVEMBER - 2 DECEMBER 2012 Lucca (Italy), Complesso Monumentale di San Micheletto ORGANIZED BY IN ASSOCIATION WITH CENTRO STUDI OPERA OMNI A LUIGI BOCCHERINI www.luigiboccherini.org MASSENET AND THE MEDITERRANEAN WORLD INTERNATIONAL CONFERENCE 30 November-2 December 2012 Lucca (Italy), Complesso Monumentale di San Micheletto organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca in association with Palazzetto Bru Zane – Centre de musique romantique française, Venice Observatoire interdisciplinaire de création et de recherche en musique, Montréal Fondazione Cassa di Risparmio di Lucca SCIENTIFIC COMMITTEE JEAN-CHRISTOPHE BRANGER (Université Jean-Monnet, Saint-Étienne) ALEXANDRE DRATWICKI (Palazzetto Bru Zane, Venice) VINCENT GIROUD (Université de Franche-Comté, Besançon) STEVEN HUEBNER (McGill University, OICRM, Montréal) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini, Lucca) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini, Lucca) MICHELA NICCOLAI (Université de Montréal, OICRM, Montréal) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini, Lucca) KEYNOTE SPEAKERS JEAN-CHRISTOPHE BRANGER (Université Jean-Monnet, Saint-Étienne) VINCENT GIROUD (Université de Franche-Comté, Besançon) FRIDAY 30 NOVEMBER 10.00-10.30: Welcome and Registration 10.30-11.00: Opening tRoberto Illiano (General Secretary Centro Studi Opera Omnia Luigi Boccherini, Lucca) tÉtienne Jardin (Coordinateur scientifique Palazzetto Bru Zane, Venice) tMichela Niccolai (Observatoire