Vol. 37 Edition Klavier-Festival Ruhr 30 Jahre Klavier-Festival Ruhr „Vive la France!“ – Debussy & Saint-Saëns Kulturpartner Live Recordings 2018 Sergei Redkin Mao Fujita Jamina Gerl Inga Fiolia Juan Carlos Fernández-Nieto Graham Johnson | Soraya Mafi | Sarah Fox | François Le Roux Théo Fouchenneret | Mi-sa Yang | Victor Julien-Laferrière Benjamin Moser | Liza Ferschtman | delian::quartett CD 1 CD 2 „VIVE LA FRANCE!“ „VIVE LA FRANCE!“ CLAUDE DEBUSSY (1862 – 1918) [73:24] CAMILLE SAINT-SAËNS (1835 – 1921) [74:46] Images I (1904 – 05) Sechs Bagatellen op. 3 (1855) 1 Reflets dans l’ eau (Spiegelungen im Wasser) [05:25] 1 Poco sostenuto [02:42] 2 Hommage à Rameau [07:23] 2 Allegro animato quasi presto [03:23] 3 Mouvement [03:17] 3 Poco adagio [03:59] 4 Moderato assai [02:10] Images II (1907) 5 Allegro molto [04:09] 4 Cloches à travers les feuilles [04:51] 6 Poco sostenuto – Adagio [06:00] (Glocken, durch das Laub hallend) 5 Et la lune descend sur le temple qui fut [05:46] JUAN CARLOS FERNÁNDEZ-NIETO (Der Mond senkt sich über den Tempel von einst) Bottrop, Kulturzentrum August Everding 6 Poissons d’ or (Goldfische) [04:06] Live Recording: 06. Mai 2018 SERGEI REDKIN Moers, Martinstift | Live Recording: 23. Mai 2018 Album op. 72 (1884) 7 Prélude: Poco allegro, tempo rubato [03:52] 8 Carillon: Moderato tranquillo [04:53] 7 L’ isle joyeuse (1904) (Die Insel der Freuden) [06:17] 9 Toccata: Allegretto [02:28] JAMINA GERL 10 Valse: Allegro grazioso e con moto [05:43] Wattenscheid, Zeche Holland | Live Recording: 03. Mai 2018 11 Chanson Napolitaine: Andantino [04:16] 12 Final: Allegro quasi minuetto [05:51] Estampes (1903) JAMINA GERL 8 Pagodes (Pagoden) [05:31] Wattenscheid, Zeche Holland | Live Recording: 03. Mai 2018 9 Soirée dans Grenade (Abend in Granada) [05:27] 10 Jardins sous la pluie (Gärten im Regen) [03:49] 13 Valse canariote op. 88 (1890) [07:15] MAO FUJITA 14 Valse langoureuse op. 120 (1903) [04:42] Bochum, Kunstmuseum | Live Recording: 02. Juni 2018 15 Valse gaie op. 139 (1912) [05:37] JUAN CARLOS FERNÁNDEZ-NIETO Deux Arabesques (1888) Bottrop, Kulturzentrum August Everding 11 Arabesque Nr. 1 in E-Dur [04:39] Live Recording: 06. Mai 2018 12 Arabesque Nr. 2 in G-Dur [03:29] INGA FIOLIA 16 Gavotte op. 23 (1871) [03:54] Essen, Haus Fuhr | Live Recording: 09. Juni 2018 MAO FUJITA Bochum, Kunstmuseum | Live Recording: 02. Juni 2018 Pour le Piano (1894 – 1901) 13 Prélude [04:14] 17 Feuillet d’ album op. 169 (1921) (Albumblatt) [03:52] 14 Sarabande [05:20] 15 Toccata [03:50] SERGEI REDKIN Moers, Martinstift | Live Recording: 23. Mai 2018 MAO FUJITA Bochum, Kunstmuseum | Live Recording: 02. Juni 2018 CD 3 „VIVE LA FRANCE!“ – LIEDER 26 Ballade des femmes de Paris (1910) (François Villon) [02:12] [78:01] 27 Noël des enfants qui n’ ont plus de maisons (1916) [02:36] CAMILLE SAINT-SAËNS (1835 – 1921) (Claude Debussy) 1 L’ Attente (1855) (Victor Hugo) [02:21] 2 La Coccinelle (1868) (Victor Hugo) [02:02] GRAHAM JOHNSON 3 Rêverie (1851) (Victor Hugo) [04:12] SARAH FOX (Sopran) 4 Guitare (1851) (Victor Hugo) [01:48] FRANÇOIS LE ROUX (Bariton) 5 Si vous n’ avez rien à me dire (1870) (Victor Hugo) [03:17] Herten, Schloss Herten | Live Recording: 15. Mai 2018 6 Viens (ca. 1855) (Victor Hugo) [02:36] 7 Tournoiement (1870) (Armand Renaud) [03:17] „VIVE LA FRANCE!“ – 8 Danse macabre (1873) (Henri Cazalis) [02:28] KAMMERMUSIK 9 La cigale et la fourmi (ca. 1860) (Jean de La Fontaine) [02:05] CD 4 10 El Desdichado (1871) (Jules Barbier) [03:29] CLAUDE DEBUSSY (1862 – 1918) [65:08] 11 Guitares et mandolines (1890) (C. Saint-Saëns) [01:50] Trio für Klavier, Violine und Violoncello in G-Dur (1880) 12 Grasselette et maigrelette (1920) (Pierre de Ronsard) [02:27] 1 Andante con moto allegro [09:51] 13 Pastorale (1855) (Philippe N. Destouches) [02:29] 2 Scherzo. Moderato con allegro [03:13] 3 Intermezzo. Andante espressivo [04:38] GRAHAM JOHNSON 4 Finale. Appassionato [06:39] SORAYA MAFI (Sopran) FRANÇOIS LE ROUX (Bariton) THÉO FOUCHENNERET Herten, Schloss Herten | Live Recording: 14. Mai 2018 MI-SA YANG (Violine) VICTOR JULIEN-LAFERRIÈRE (Violoncello) Herten, Schloss Herten | Live Recording: 13. Juni 2018 CLAUDE DEBUSSY (1862 – 1918) 14 Voici que le printemps (1884) (Paul Bourget) [02:56] 15 Clair de lune (1882) (Paul Verlaine) [02:47] ERNEST AMÉDÉE CHAUSSON (1855 – 1899) 16 Clair de lune (1891) [02:55] Konzert für Violine, Klavier und Streichquartett in aus: Fêtes galantes I (Paul Verlaine) D-Dur op. 21 (1889 – 91) 5 Décidé [14:24] aus: Ariettes oubliées (1888 rev. 1903) (Paul Verlaine) 6 Sicilienne [04:10] 17 C’ est l’ extase [02:39] 7 Grave [10:52] 18 Il pleure dans mon cœur [02:49] 8 Finale. Très animé [11:21] 19 Chevaux de bois [03:38] BENJAMIN MOSER 20 Le Faune [01:48] LIZA FERSCHTMAN (Violine) aus: Fêtes galantes II (1904) (Paul Verlaine) delian::quartett aus: Cinq Poèmes de Baudelaire (1889) (C. Baudelaire) Adrian Pinzaru (Violine) | Andreas Moscho (Violine) 21 Le jet d’ eau [06:08] Georgy Kovalev (Viola) | Miriam Prandi (Violoncello) 22 Recueillement [04:50] Essen-Werden, Folkwang Universität der Künste Chansons de Bilitis (1899) (Pierre Louÿs) Live Recording: 18. Mai 2018 23 La flûte de Pan [02:26] Das delian::quartett spielt auf dieser Aufnahme 24 La chevelure [03:09] mit freundlicher Genehmigung von 25 Le tombeau des Naïades [02:47] delian::quartett appears by courtesy 3 CD 1 “VIVE LA FRANCE!” – CLAUDE DEBUSSY CLAUDE DEBUSSY (1862 – 1918) Images I manages to fathom the depths of the past. The theme of water Reflets dans l’eau (Reflections in the water) returns in the final piece: a Japanese lacquer panel reportedly inspired Hommage à Rameau Debussy to compose Poissons d’or, a vibrant paean to the transforma- Mouvement tions that are constantly taking place within the aquatic element. Images II Cloches à travers les feuilles (Bells through the leaves) L’isle joyeuse (The island of pleasures) Et la lune descend sur le temple qui fut (And the moon descends on the temple that was) Shimmering colors, virtuoso aplomb, and sheer joie de vivre take Poissons d’or (Golden fishes) center stage in L’isle joyeuse, a solo piano work Debussy wrote in July/August 1904. For this piece he is said to have been inspired by Images is one of Debussy’s key works: he wrote the first volume in Watteau’s 1717 painting “The Embarcation for Cythera”. That rococo 1905/06. In Reflets dans l’eau he portrays the movements of waves pictorial masterpiece depicts an ideal landscape on the mythological and the reflections of the sun’s rays on the water; not only the island of Cythera, where happiness and sensuality find fulfillment. glistening surface, but also what is moving in the depths beneath. The technically demanding piano part imitates the sounds of the full With his Hommage à Rameau, Debussy weaves a sarabande to create orchestra. The air shimmers in the glistering heat; the buoyant spirits a wistful remembrance of the great Baroque composer who set of a bacchanalia are sketched here in finest musical detail. the standards of his day. Looking back from Modernism to the old masters, the French composer nevertheless remains true to his own style. Mouvement, the last piece in the first cycle, associates Estampes mechanical motion with the animated stirring of living beings in Pagodes nature. The second cycle opens with a nuanced keyboard illustra- Soirée dans Grenade (Evening in Granada) tion of the sound of bells. In Cloches à travers les feuilles, Debussy Jardins sous la pluie (Gardens in the rain) interweaves distant bell peals with the proximity of the wind blowing through the leaves. Thus, two thoroughly separate points of reference Tunes and sonorities from Southeast Asia made a profound impres- – an immaterial sonority combined with animated objects of nature – sion on Debussy – particularly in 1889, when he heard the fascinating open up a wide range of musical possibilities, with the colorful timbres of a Javanese gamelan ensemble at the Paris World’s Fair. addition of a Southeast Asian flair. The spatial dimension is subse- His study of that region’s music led to Pagodes, the piece that opens quently further extended in Et la lune descend sur le temple qui fut the Estampes cycle. In this musical tableau, Debussy multiplied the to incorporate the dimension of time. The moonlight not only shines layers of rhythm and applied a five-tone pentatonic scale to create a down its rays from above to illuminate the scenery below: it even contemplative, Far Eastern mood: stillness and animated motion 4 “VIVE LA FRANCE!” – CLAUDE DEBUSSY interlock to form a satisfactory whole. La soirée dans Grenade is Pour le Piano brimming with Iberian local color. In spite of its use of habanera Prélude rhythm, tango, and Orientally-tinged flamenco, the piece avoids Sarabande superficial folklore and conjures an imaginary, quasi-unreal flair Toccata instead. Moods and concrete images likewise alternate in the final piece, Jardins sous la pluie, where Debussy unfurls an elaborate The toccata is also the genre Debussy chose for the initial and final toccata tracing the outlines of pearly drops on leaves and plants after pieces of the suite Pour le Piano, which he worked on between 1894 a downpour, or depicting the finest drizzle. and 1901. This suite harks back to Baroque standards in terms of global structure and individual movement titles, but Debussy transposed the basic premises of a suite into his own personal musical idiom. Deux Arabesques The opening Prélude is full of lively bravado, with forward move- ment provided by a relentless motor drive.