Le Souvenir Félicien David
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Le Souvenir Félicien David Coin | Dünki | Gabetta Quatuor Mosaïques PARENTHÈSES © Wolfgang Krautzer. Wolfgang © Quatuor Mosaïques Ensemble Baroque de Limoges Erich Höbarth violin, Joseph Guarnerius Filius Andreae, Cremona, 1683 Jean-Jacques Dünki Andrea Bischof piano, Erard, Paris, 1850 1-5, 7, 9 violin, Anonyme, France, fin du XVIIIe siècle pianino, Kunz, Neuchâtel, ca. 1845 6, 8, 14 Anita Mitterer Andrés Gabetta viola, Carolus Le Pot, Lille, 1725 e violin, Anonyme, Italie, XVIII siècle Christophe Coin violoncello, Alessandro Gagliano, Naples, ca. 1720 1 Christophe Coin violoncello, Alessandro Gagliano, Naples, ca. 1720 1 Georg Senn : piano tuning. 432 Hz 1 Loan from Fonds Instrumental Français. 2/24 LE SOUVENIR FÉLICIEN DAVID (1810 - 1876) Premier trio en mi bémol majeur pour piano, violon et violoncelle Les 24 quintettes Les Quatre Saisons de F. David que nous avions 1. Allegro moderato 7’24 programmés pour l’année du bicentenaire de sa naissance ont 2. Molto adagio 8’25 aiguisé mon désir d’explorer davantage sa musique de chambre 3. Finale (Allegretto) 9’46 et de rendre un hommage à ce grand mélodiste. Henri VIEUXTEMPS (1820 – 1881) De cet album, seule La Nuit nous rappelle l’influence arabisante La nuit (de l’ode-symphonie Le Désert de F. David), pour violoncelle et piano de ce compositeur considéré comme « orientaliste ». Partie de violoncelle par Carl SCHUBERTH (1811–1863) Par contre, les « espagnolades » prisées à cette époque sont 4. Larghetto 5’36 reconnaissables dans la partie mineure initiale du Caprice pour violoncelle ainsi que dans le 2e thème du finale du quatuor, Félicien DAVID La pensée : mélodie-valse pour le piano décliné tour à tour par les quatre instruments. 5. Andante grazioso 2’09 On pourra aussi trouver une parenté avec Chopin dans La Le caprice : mélodie pour violoncelle et piano Pensée et avec Schubert dans L’Absence, pour piano. 6. Allegretto moderato 4’40 Mais c’est dans le finale duTrio N°1, par ailleurs plutôt empreint d’une légèreté et d’un panache dignes d’Offenbach, que Philippe MUSARD (1792 – 1859) David fait référence à Beethoven, dont il se réclame. (cf notes Valse de Lalla-Roukh (opéra-comique de F. David) biographiques) Arr. pour le piano par Emile DESGRANGES 7. En effet, dans les dernières mesures de la e1 partie et avant le Andante - Allegro non troppo - Valse 4’16 développement, les croches du violon et violoncelle soutenant le Sebastian LEE (1805 – 1887) thème du piano nous rappellent étrangement les premiers trios Souvenir d’Herculanum, (opéra de F. David) morceau de salon pour vlle et piano de son modèle. 8. Andante - Allegro grazioso - Allegro moderato 5’14 C. Coin Félicien DAVID L’absence : romance sans paroles pour piano 9. Andante 6’04 Troisième Quatuor en ré mineur 10. Allegro moderato 5’29 11. Adagio 5’58 12. Scherzo (Allegretto) 4’14 13. Finale (Largo - Allegro leggiero) 5’01 Le souvenir : mélodie pour violoncelle et piano 14. Andante espressivo 4’11 timing : 78’29 Total 3/24 Félicien David all Jesuit establishments. Félicien David found Cadenet, 13 April 1810 himself out in the cold and in the obligation to find † Saint-Germain-en- Laye, 29 August 1876 work. His path led him to the position of Second Conductor of the Orchestra at the Aix Theater In 1790, the father of César-Félicien David, Charles- (where he seemed to have suffered a prolonged Nicolas, returned penniless to the French Province, hazing), then to a position as a law clerk, then to to his family's land, from the French Colony of the position of Music Director at the Saint-Sauveur Saint-Domingue (what is nowadays Haiti). His Cathedral. He wrote in those days motets and wife, Marie-Anne Arquier, twenty years younger nocturnes. than himself, was originally from Aix-en-Provence. She had her first child at the age of 16 and gave But he wanted more and went, despite lacking birth to her fifth and last child, Félicien David, on money, to Paris. He entered the Conservatory taking April 13, 1810, at the age of 29. Unfortunately for the classes of Millaud and Reber, counterpoint Félicien, she died five years later from puerperal class with Fétis, and organ with Benoist. He rather sepsis. Her husband’s death succeeded hers the belatedly undertook the instrument which would following year. Félicien, an orphan, was taken in by become his favorite : the piano. He wrote in 1831: his remaining family members. "The piano is a diabolical instrument which has enraged me many times, but the difficulties have Charles-Nicolas, an amateur violinist, just barely started to ease away, and within a year, I could call had the time and chance to give Félicien a taste myself a good pianist, not from the Provinces, but for music. Félicien sang. He sang so well that they from Paris: because there is a big difference." He asked their neighbor M. Garnier, the first chair oboe composed and adopted the title of professor of expectations: tending towards social progress of the Opera, to judge his qualities. Impressed by harmony and piano. Félicien was very passionate and technical skills, extolling the virtues of the voice of the child, Garnier advised the family and open to new things; he was and would remain egalitarianism, imbued with lyricism and pragmatic to enroll Félicien at the Saint-Sauveur Cathedral in a great fan of Beethoven: "I like to be Romantic in in its quest for a new world, Saint-Simonism also Aix-en-Provence which had, at that time, a good the same ways as Beethoven and Weber--that is presented Félicien David with the opportunity to reputation. This advice was followed in 1817. to say new, original, and profound like them […] have a second family. Félicien's talents revealed themselves: his angelic There we are, a Romanticism that isn't like that of face, his clear voice, and his musical talents earned Rossini or Auber, God spares me from it." This family was dominated by the father figure him a local fame. People came from miles around of which Prosper Enfantin was the incarnation to hear him sing. He studied the violin and drafted The end of the year 1831 marked a great change and which all the second-wave Saint-Simonian his first works. At puberty, he pursued his studies at in his life: he encountered the Saint-Simonian disciples revered. In 1830, there were about 600 the Jesuit Junior High of Aix, at the expense of the movement and left the Conservatory. The men declared followers and millions of sympathizers. Saint-Sauveur chapter. At fourteen, he composed of this time, while remaining faithful believers, They organized numerous ceremonies. Open to a "violin concerto" in A minor; he persevered in were always on the lookout for philosophical the public, these ceremonies were just as much a studying the violin, to which he added the string- manifestations with religious tendencies. In this show for the dumbfounded Parisian audience. bass. In 1828, Charles X ordered the closing of way, the Saint-Simonian movement met their 4/24 At their parties on the rue Monsigny in Paris, one types. We know he sang, he improvised, and he across in his letters must certainly have been even could come across Adolphe Nourrit, the leading played piano pieces and romances of his own more perceptible upon contact with the man tenor of the Opera, Felix Mendelssohn, Hector composition in which he produced "an irresistible himself. To describe David, people would later use Berlioz or even Franz Liszt. sensation." He might have even made the assistants two adjectives: "charming" and "gentle". dance at the occasionally brilliant parties which The Saint-Simonian Order established itself a little multiplied themselves over the course of the last Félicien David set off on an adventure with the later in a large residence in the Ménilmontant months at the rue Monsigny. "companions of the Lady"--as was called the quarter. In this community, which had as its fourteen Saint-Simonian apostles. They left on motto «to each his work, to each his capacities» Some ten years later, David had the same success December 15, 1832 for the Orient via Lyon, an area each person participated in all the work. Félicien in salons; once again, it was thanks to his songs favorable to Saint-Simonism and staging grounds David was in charge of the music. He wrote and and his lyrical pieces for piano, several of which of Félicien David’s musical desire. There, M. Chavan accompanied on the piano the songs that set the had been conceived with an Egyptian flavor, gave him a gift of a little portable five-and-a-half tempo for the daily work, rituals, and ceremonies, which added, without a doubt, to their charm. But octave piano, "built to resist the agonies of a long including those of prayers and meals. He wrote whether it be during his rue Monsigny period, or trip." This piano rendered him great service in that hymns to Saint-Simon and other works for the later, one has the impression that the success of he used it to compose, improvise, or seduce the numerous events of the community. Amongst David as a salon musician came as much from his local population. these works figures La danse des astres [The dance personality as much as the quality of his music. of the Stars] which accompanied the astronomy It is obvious that his qualities such as humor, Lots of adventures ensued for these Occidental lesson given at night by Charles Lambert with, as intelligence, or his touching sincerity which comes intruders and fervent proselytes, who were the tenor soloist, Félicien David.