Philippe Herreweghe
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Philippe Herreweghe A Conversation with Camille De Rijck Philippe Herreweghe A Conversation with Camille De Rijck Contents / Sommaire Philippe’s Musical Choice Foreword - A Question of Time A Conversation with Philippe Herreweghe Biographies EN Avant-propos - Le temps qui reste Conversation avec Philippe Herreweghe Biographies FR Vorwort - Die Zeit, die uns noch bleibt Gespräch mit Philippe Herreweghe Biografien DE Voorwoord - De tijd die nog rest Gesprek met Philippe Herreweghe biografieën NL Distribution Credits Philippe Herreweghe in Colour Cantata “Herr, gehe nicht ins Gericht mit deinem Knecht”, Philippe’s Musical Choice BWV 105 22 Coro. Herr, gehe nicht ins Gericht mit deinem Knecht ____________04’59 23 Recitativo. Mein Gott, verwirf mich nicht (Alto) __________________00’55 24 Aria. Wie zittern und wanken (Soprano) __________________________ 05’31 25 Recitativo. Wohl aber dem, der seinen Bürgen weiß (Bass) _______ 01’57 DISC 1 26 Aria. Kann ich nur Jesum mir zum Freunde machen (Tenor) _______05’35 27 Choral. Nun, ich weiß, du wirst mir stillen ________________________ 01’45 Carlo Gesualdo Madrigali a cinque voci, Libro sesto (1611) TOTAL ____________________________________________________________ 74’16 1 Se la mia morte brami ____________________________________________ 03’37 2 Beltà, poi che t’assenti ___________________________________________03’03 3 Tu piangi, o Filli mia ______________________________________________ 03’10 DISC 2 4 Resta di darmi noia _______________________________________________ 02’57 5 Chiaro risplender suole ___________________________________________03’43 Ludwig van Beethoven 6 Mille volte il dì moro e voi, empi sospiri ___________________________ 03’12 Missa solemnis in D Major, Op. 123 7 O dolce mio tesoro _______________________________________________ 02’47 8 Io pur respiro in così gran dolore _________________________________02’44 1 I. Kyrie ___________________________________________________________ 11’30 9 Ancide sol la morte _______________________________________________02’23 2 II. Gloria __________________________________________________________ 16’35 10 Quel “no” crudel, che la mia speme ancise _______________________02’24 3 III. Credo _________________________________________________________ 17’58 11 Moro, lasso! Al mio duolo _________________________________________03’34 4 IV. Sanctus _______________________________________________________ 14’02 12 Tu segui, o bella Clori, un fuggitivo core __________________________02’20 5 V. Agnus Dei ______________________________________________________ 15’14 13 Già piansi nel dolore ______________________________________________ 02’12 14 Quando ridente e bella ____________________________________________02’27 TOTAL ____________________________________________________________ 75’19 Johann Sebastian Bach DISC 3 Cantata “Ich elender Mensch, wer wird mich erlösen”, BWV 48 Hector Berlioz Nuits d’été, Op. 7 15 Ich elender Mensch, wer wird mich erlösen _______________________ 04’57 16 O Schmerz, o elend, so mich trifft _________________________________01’11 1 III. Sur les lagunes (lamento) Ma belle amie est morte ____________06’20 17 Solls ja so sein ___________________________________________________00’39 2 V. Au cimetière (clair de lune) Connaissez-vous la blanche tombe _ 05’48 18 Ach, lege das Sodom der sündlichen Glieder ______________________ 02’21 19 Hier aber tut des Heilands Hand __________________________________ 00’41 20 Vergibt mir Jesus meine Sünden __________________________________02’39 21 Herr Jesu Christ, einiger Trost ____________________________________ 01’02 Gustav Mahler Igor Stravinsky Symphonie No. 4 in G Major Requiem Canticles 3 I. Bedächtig. Nicht eilen __________________________________________ 15’36 4 Praeludium ________________________________________________________01’11 4 II. In gemächlicher Bewegung. Ohne Hast ________________________09’00 5 Exaudi ____________________________________________________________ 01’43 5 III. Ruhevoll _______________________________________________________20’07 6 Dies irae _________________________________________________________00’56 6 IV. Sehr behaglich ________________________________________________ 08’41 7 Tuba mirum _______________________________________________________ 01’06 8 Interludium _______________________________________________________ 02’31 TOTAL : __________________________________________________________ 65’49 9 Rex tremendae ____________________________________________________01’11 10 Lacrimosa ________________________________________________________ 01’46 11 Libera me ________________________________________________________00’54 DISC 4 12 Postludium _______________________________________________________ 01’54 Antonín Dvořák Threni, Id est lamentationes Jeremiae Prophetae Requiem, Op. 89 13 Incipit ____________________________________________________________ 00’51 1 I. Introitus (Requiem æternam - Kyrie eleison)____________________ 10’44 14 De elegia prima __________________________________________________06’48 2 II. Graduale (Requiem æternam) __________________________________04’39 De elegia tertia Sequentia 15 I. Querimonia __________________________________________________06’55 3 III. Dies irae ___________________________________________________02’28 16 II. Sensus spei _________________________________________________06’36 4 IV. Tuba mirum ________________________________________________08’36 17 III. Solacium ___________________________________________________03’23 5 V. Quid sum miser _____________________________________________06’03 18 De elegia quinta: Oratio Jeremiae Prophetae _____________________ 03’18 6 VI. Recordare, Jesu pie ________________________________________07’03 7 VII. Confutatis maledictis _____________________________________ 04’42 TOTAL ____________________________________________________________62’25 8 VIII. Lacrimosa ________________________________________________06’33 Offertorium 9 XIX. Domine Jesu Christe _____________________________________ 10’53 10 X. Hostias _____________________________________________________ 10’14 TOTAL ____________________________________________________________ 71’55 DISC 5 1 XI. Sanctus - Benedictus _________________________________________05’54 2 XII. Pie Jesu ______________________________________________________ 04’19 3 XIII. Agnus Dei ____________________________________________________11’12 TOTAL of the 5 DISCS ______________________________________________ 5h49’59 Foreword A Question of Time t seems reasonable to expect that an artist, seeing his life in terms of a progressive ascent, will make his dizzying way towards its conclusion, celebrating each birthday as he goes. But what if he is aware of a countdown, constantly reminding him of the time remaining to him? How will that affect his work? Sitting in his study with its well-up- holstered chairs and parquet floor, all scented by a candle, Philippe Herreweghe, turn- EN Iing 70 in 2017, looks at his diary. “You see those coloured boxes. Each one corresponds to a specific project – a concert, a recording and the rehearsals needed for each.” Sure enough, his diary is dotted, or rather strewn with coloured boxes that commit him body and soul to engagements two, three or four years in advance. It is, indeed, dizzying to think that a conductor of his stature is not completely at liberty to shape the timing of his career. If he wants his own ensembles to undertake major tours, or if he wants to conduct other renowned groups of musicians, he has no choice but to book himself up several seasons ahead. What if doubts arise, or if he suddenly likes the idea of conducting a Mahler symphony or recording Strauss’s Four Last Songs? The answer is that he has no choice but to comply with the tyranny of calendars and the rhythm of the concert seasons. Herein lies a key paradox of a conductor’s life: the more substantial his reputation and the more power he wields, the less freedom he enjoys. He is like a king in a sumptuous gilded palace who is forbidden from going outside to take a breath of fresh air. With time passing relentlessly for him, an artist needs to take stock of his resources. “Let’s suppose that I have 10 more years of conducting ahead of me. How many coloured boxes will I be able to fill?” Philippe Herreweghe asks. He is constantly faced with choices, even though he confesses to an almost dizzying capacity for indecision. It is as if he were faced with making a methodical list of every project he will undertake until the end of his career, or as if a young pianist, fresh out of the conservatory, were asked to provide an in- ventory of all the pieces he will ever play. “Ten years? And how many projects?” It is quite possible that, in 20 years, Philippe Herreweghe will be asking himself the same question. This series of interviews with Herreweghe came out of the blue. It was an idea that was hur- riedly put into action between Christmas and New Year in the form of several spontaneous, free-ranging and open-ended discussions. Over a cup of coffee, Philippe Herreweghe held forth at length on subjects close to his heart. The interviews ran to 10 hours, but only nine or 10 questions were needed to unleash his formidable streams of consciousness. The intention was not to capture his thoughts whole so that they could be displayed for posterity, like a collection of miniature ships in bottles, but rather to catch pieces of them as they flew around. It was like being allowed to visit a museum at night and finding our way with torches around some of the rooms