HMC 902205 - booklet

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//-->EDVARD GRIEGPIANO CONCERTO|LYRIC PIECESJAVIER PERIANESBBC SYMPHONY ORCHESTRASAKARI ORAMOFRANZ LISZTEDVARD GRIEG(1843-1907)PIANO CONCERTOin A minor /la mineur/ a-Moll13’406’4710’211|I. Allegro molto moderato2|II. Adagio3|III. Allegro moderato molto e marcato456789101112131415||||||||||||LYRIC PIECES/Pièces lyriques/ Lyrische StückeArietta op.12/1. Pocoandante e sostenutoKanon op.38/8. Allegrettocon motoSommerfugl (Butterfly / Papillon) op.43/1. AllegrograziosoEnsom vandrer (Solitary traveller / Voyageursolitaire) op.43/2Allegretto sempliceMelodi (Melody / Mélodie) op.47/3. AllegrettoTrolltog (March of the trolls / Marche des trolls) op.54/3. AllegromoderatoNotturno (Nocturne) op.54/4. AndanteHjemve (Homesickness / Lemal du pays) op.57/6. AndanteFor dine födder (At your feet / Àtes pieds) op.68/3Poco andante e molto espressivoBadnlat (At the cradle / Auberceau) op.68/5. Allegretto tranquillamenteDet var engang (Once upon a time / Ily avait une fois) op.71/1Andante con moto - Allegro briosoEfterklang (Remembrance / Souvenirs) op.71/7. Tempodi valse1’255’001’542’203’392’594’174’333’033’274’361’52JAVIER PERIANES,pianoBBC SYMPHONY ORCHESTRASAKARI ORAMONé à Bergen en Norvège en 1843, Edvard Grieg étudie au conservatoire de Leipzig entre 1858 et 1862.Après cet apprentissage de la discipline allemande, il commence dès le milieu des années 1860à s’intéresser à la musique folklorique de son pays natal. C’est en 1868, un an après avoir fondél’Académie de musique norvégienne, qu’il compose son uniqueConcerto pour pianoen la mineur,op.16. La création a lieu à Copenhague le 3 avril 1869 par son dédicataire, Edmund Neupert. Trèsvite, Grieg reçoit les encouragements de son grand modèle Franz Liszt qui l’invite à lui présenter sesœuvres. L’influence et les nombreux conseils du compositeur hongrois le mènent à revisiter surtoutl’orchestration, devenue bien plus dense. Grieg modifiera l’œuvre plusieurs fois au cours de sa vie,comme s’il n’en avait jamais été pleinement satisfait.Même si ce concerto s’inscrit dans la grande tradition romantique, il offre un langage fortement empruntéau folklore norvégien. De forme-sonate, le premier mouvement s’ouvre sur l’entrée triomphale etdramatique du soliste après un roulement de timbales. Un premier thème au rythme pointé est exposépar les bois puis par le pianiste, rappelant alors le halling, danse populaire binaire norvégienne. Il estsuivi d’un second thème plus souple. Le développement fait entendre des rappels du premier thèmepar la flûte et le cor dans d’autres tonalités. La réexposition conduit progressivement à la cadence dupiano, d’abord paisible, puis de plus en plus virtuose, avec ses octaves, ses accords martelés et ses vifsarpèges. Le mouvement central en ternaire (3/8), Adagio, est typique de la profondeur de l’écriture deGrieg. L’utilisation délicate des cordes avec sourdines, soutenues par les cors et les bassons, renvoieà la sérénité et la puissance des paysages nordiques. La partie fluide du piano, d’une grande poésie,laissant place à de belles ornementations, s’enchaîne sans pause au troisième mouvement. Plusnationaliste, celui-ci offre une succession de danses populaires (halling mais aussi springdans à troistemps) mêlées à une grande virtuosité et de beaux moments cantabile. La coda explosive développebrillamment les thèmes de ce dernier mouvement.Plus à l’aise dans l’écriture de miniatures que dans les grandes formes, Grieg compose entre 1867 et1901 soixante-six Pièceslyriques pour piano seul, réparties en dix recueils sans aucun signe particulierd’unité. Dans cet enregistrement, Javier Perianes en choisit douze, dont la toute première et la toutedernière. Grieg confirme ici son orientation nationaliste en s’inspirant des caractéristiques des mélodiespopulaires : thèmes brefs et simples, souvent répétés et sans grandes ornementations. En revanche, iltravaille sur l’harmonie et la couleur de chacune d’elles. Typiquement romantiques, elles reflètent l’âmedu compositeur dans toute sa complexité avec ses nombreux caractères, et sont très prisées par lespianistes de l’époque, débutants ou virtuoses.Première pièce lyrique composée en 1867, Arietta, op.12 no1 en Mi bémol majeur offre un thème raffinéet simple au-dessus d’arpèges de la main gauche. L’atmosphère, dans une nuance piano, y est douceet rêveuse. Nous retrouvons ce thème dans la dernière des Pièces lyriques, Souvenirs, op.71 no7 avecquelques modifications intéressantes.Les différents thèmes plaintifs de Kanon, op.38 no8 en si bémol mineur (1883) présentés à la main droitepuis à la main gauche, se caractérisent par une suite ascendante de croches puis de croches pointées-double, sur un tapis régulier de contretemps. Très en contraste, la partie centrale est plus verticale,avec une succession d’accords et cette fois-ci écrite en Si bémol majeur. Comme beaucoup de Pièceslyriques, la première partie est reprise intégralement.Composée en 1886,Sommerfugl(Papillon), op.43 no1, est typique d’un romantisme explicatif. Piècetrès brève en La majeur, l’élan de doubles croches et de croches pointées-double représente l’envoléerapide et aléatoire d’un papillon.En si mineur, Ensomvandrer (Voyageur solitaire), op.43 no2 (1886) est un chant nostalgique qui a laparticularité de faire entendre certains motifs à l’octave dans les voix extrêmes. L’accompagnementdans les voix intermédiaires est très subtil et sobrement harmonisé.Le thème bouleversant à 6/8 deMelodie,op.47 no3 en la mineur (1887), est toujours sur le mêmerythme (noire-croche), qui se répète comme un ostinato rythmique. Toutefois, le jeu du contraste desnuances donne à cette régularité un grand contraste entre tension, tristesse et puissance.Pleine d’humour, Troldtog (Marche des trolls), op.54 no3 (1891) est en ré mineur. Les accords de la maindroite descendent de façon chromatique tandis que la basse est assurée par les croches piquées. À lasuccession de triples croches et l’aspect martelé du thème vif de la première partie s’oppose la partiecentrale, très dépouillée et cantabile, avant le retour tonitruant du premier thème.D’une troublante ressemblance avec Clairde Lune de Debussy, Notturno, op.54 no4 en Ut majeur, estcomposée la même année, en 1891. Écrite en ternaire, les similitudes se retrouvent dans les couleursharmoniques, la superposition du duolet et des trois croches de la main gauche, mais aussi dansl’utilisation de la 9e.Hjemve(Mal du pays), op.57 no6 (1893) est un morceau en clair-obscur écrit dans le mélancolique tonde mi mineur. Le thème initial tourne autour de quatre notes dans un grand dépouillement. L’épisodecentral est un springdans. La mélodie rafraichissante dans l’aigu est accompagnée par une successionde quintes en croches à la main gauche, avant le retour de la première partie, plus grave.En Ré majeur à 2/4, la main gauche deFor dine födder(À tes pieds), op.68 no3 (1899), est enconstant balancement tandis que la mélodie et les harmonies offrent de nombreuses et inhabituellesmodulations.Badnlat(Au berceau), op.68 no5 (1899) emmène en douceur l’auditeur dans un monde enfantin. Griegchoisit pour cela la tonalité de Mi majeur, un tempo allegrettotranquillamente, mais surtout proposedes harmonies simples (tierces, quintes ou sixtes) et des rythmes élémentaires (croches, noires etblanches).Extrait du dernier recueil, Detvar engang (Il y avait une fois), op.71 no1 (1901) est un des morceauxen clair-obscur. La partie initiale en mi mineur, avec un thème mélancolique sur un rythme pointé,débouche sur une partie centrale dans un rythme de danse norvégienne, springdans, cette fois en Mimajeur. Puis arrive le retour du premier thème qui parait encore plus sombre.Dans sa dernière Pièce lyriqueEfterklang(Souvenirs), op.71 no7 (1901), Grieg reprend énormémentd’éléments de sa première, Arietta, écrite trente-quatre ans plus tôt. Même si la tonalité de Mi bémolmajeur reste la même, on compte de nombreuses modulations et emprunts. Par ailleurs, il quittele tempo à 2/4 pour écrire dans un tempo de valse qui s’éteint soudainement dans une nuancepianississimo.GABRIELLE OLIVEIRA GUYON3françaistracksplages cdSakari Oramo4tracksplages cdIs the artist not always a stranger among men?Is his homeland not always elsewhere? Whatever he does, whereverhe goes, he feels himself an exile everywhere.It seems to him that he has known a purer sky,a warmer sun, better beings.Franz LisztWhen Edvard Grieg died in 1907, the pallbearers carried to the grave a composer who, unlike manyothers, had been able to enjoy his worldwide fame during his lifetime. He had lived to the age of sixty-four; he died in his native city of Bergen, from a lung condition that had affected him most of his life. Itwas not only the population that bade him farewell with overwhelming sympathy, but also a considerablenumber of leading personalities from Norway and abroad.Proud of Grieg as Norway was and is, one must not overlook the fact that only in the European contextcould he become what he was. His great-grandfather had emigrated from Aberdeen in Scotland,and Grieg’s father continued the fish-trading business he had inherited. His mother was a respectedpiano teacher who had been trained in Altona (Hamburg) and London. When he was only fifteen, hisparents sent the talented boy to the Leipzig Conservatory, where Schumann and Mendelssohn were thelodestars. Although the one-sided nature of these studies, which lasted from 1858 to 1862, later provedto be problematical, Grieg was bound to Leipzig for life: it was there that he found his publisher Peters,who tirelessly supported and promoted him.Grieg’s Piano Concerto in A minor (his only finished work in the concerto form) had its first performancein Copenhagen on 3 April 1869, with Edmund Neupert as soloist. In the autumn of the same year, Griegpaid an extended visit (his second) to Rome. After the young composer had sent him a violin sonata,Franz Liszt had written him an encouraging letter; they met at the Villa d’Este in Tivoli, where a famousincident involving the Piano Concerto took place. An excited Grieg had brought the manuscript of thework with him, and Liszt wanted to hear it, but Grieg did not trust himself to play it on the piano, indeedthought it was impossible to do so at sight with all the orchestral parts. He continues the story in aletter to his parents: ‘Liszt took the manuscript, went to the piano, and said to the assembled guests,with his characteristic smile: “Very well, then, I will show you that I also cannot.”’ Grieg was delighted:‘He played as only he can play . . . In conclusion, he handed me the manuscript and said, in a peculiarlycordial tone: “Keep right on; I tell you, you have the ability, and – do not let yourself be deterred!”’The Piano Concerto is still one of Grieg’s most popular works today, and there is scarcely a majorpianist who has not presented his or her interpretation of it. One point that is repeatedly discussedis the extent to which its point of reference is Schumann, whom Grieg had revered since his studiesin Leipzig. In 1858 he had had the opportunity of hearing Clara Schumann as soloist in her husband’sPiano Concerto in A minor, and in fact there are some definite echoes, not only in the choice of keysignature, but also at the beginning – both concertos open with impressive cascades of sound from thesolo instrument. The parallels tend to peter out in the course of the piece, however, so that it might bemore appropriate to speak of the young Norwegian’s gradual emancipation from his model. The tersefirst movement, Allegro molto moderato, is in sonata form: Grieg conceives two marvellous themes, thefirst march-like and powerful, the second serene and of staggering length, which he can then interweavein a captivating development. There is no lack of mysterious moments, but particularly fascinating hereis the spatial dimension that Grieg attains almost effortlessly. The Adagio brings a wealth of touching,dreamy melodies, and here too one may observe how delicately he is able to terrace acoustic distances.The third and final movement, Allegro moderato molto e marcato, captivates with its colourful rhythms,its dashing forward momentum, and the grand final climax, in which piano and orchestra spur eachother on.TheLyric Piecesare among the works that made Grieg world-famous. As in the case of the PianoConcerto, in which commentators have held that a certain combination of intervals (the ‘Grieg motif’)is chiefly responsible for its specific Norwegian quality, there has been much discussion as to whetherthe cultural periphery in which and for which Grieg composed, endowing it with a sense of identity,represents a shortcoming that stamps him as no more than a minor master, or in fact constitutes hisintrinsic greatness. For Grieg himself the question of Norwegian culture was a tremendously importantone, and he used his international reputation to fight tirelessly for the recognition of Norway as a state.He owed that reputation in considerable part to the LyricPieces, which he wrote over the space of fourdecades. They are indebted to the Romantic character piece in free form, which became widespreadafter 1830 and found outstanding representatives in Schumann and Mendelssohn. Grieg certainly alsocomposed them with a view to their use in teaching the piano, with the result that they swiftly won thehearts of devotees of domestic music-making all over Europe.The present recording offers a representative selection, starting with the first number of op.12, a set ofeight pieces with which the twenty-four-year-old composer scored a resounding success immediatelyupon publication. He had managed to establish a personal voice virtually at a stroke. Further booksfollowed over the decades, and, surprisingly enough, he enjoyed unfailing success with them, eventhough he hardly changed his ‘artistic strategy’.The first piece, the binary Arietta, creates an extraordinarily attractive effect with its transparent textureand its ingenious melodic writing. It is interesting that the last bar is identical to the first, thus creatinga sensation of open-endedness. And Grieg will not disappoint the desire to continue listening. In Canonhe applies the strict form of the title consistently, but always in the service of carefully shaded, beguilingsonority. The next two works make greater technical demands on the pianist. WhileSommerfugl(Butterfly), in A major, sumptuously encapsulates in its rondo form the idea of all that is light, brightand vernal, it is also a splendid étude with chromatic runs. The music ofEnsom Vandreris at oncemelancholy and heartfelt: the ‘lonely wanderer’ of the title ‘does not experience the encounter withnature as happiness, but as a reinforcement of his own solitariness’, as Grieg explained. The paralleloctaves may reflect the vastness and forlornness of the landscape. From the 1888 set, the programmeincludes Melodie in A minor, an unpretentious composition that goes straight to the heart. Better knownare the pieces of op.54, perhaps because Grieg published four of the six numbers in 1905 as the LyricSuite for orchestra, including the famous Troldtog (March of the trolls) in D minor and ternary form.Grieg approaches the elusive mythical beings in two ways here: first in a bizarre and demonic A sectionthat characterises the unfathomable nature of the sinister trolls with panache, and in a lyrical B sectionthat alludes to an unearthly dreamland. Its suggestive power and its dynamism have made it a popularencore piece. Also from op.54 comes the wonderfulNotturnoin C minor, again in ternary form. Thelyrical and intense atmosphere unexpectedly rises to a crisis, as if long-restrained feelings must burstout.Hjemve (Homesickness) is again in an arch-like form that provides a strong contrast: the middle section,inspired by the alert rhythms of the Norwegian springdans (leaping dance), embedded as it is withinthe melancholy gloom of yearning, sounds strangely unreal, painfully bright. Grieg sharpens some ofthe notes of the scale here (A sharp, E sharp) to make it seem at once strange and familiar. In thispiece written on the Côte d’Azur, he may have been expressing his own situation as a cosmopolitanNorwegian. He wrote in a letter of 1884: ‘A real home abroad – I could not stand it for long. The longingwould devastate me.’For dine födder(At your feet) in D major is an intimate piece that combinesserenity and voluptuous devotion. From the same opus number comes Bådnlåt (Cradle song) in E major,which has a peaceable mood.The LyricPieces conclude with op.71, which appeared in 1901. Det var engang (Once upon a time) inE minor is a reworking of a Swedish folk song (AckVärmeland, du sköna – O beautiful Värmland), butculminates in a Griegian springdans that any listener can identify as Norwegian. Once again we hear theunderlying melancholy so typical of the composer. Efterklang (Remembrances) is not only the last ofthe LyricPieces that constituted the work of a lifetime for Grieg, but also the last piece on our recording.Here the composer chose to write a waltz that harks back to the melody of theArietta op.12 which hadopened the LyricPieces. He bids us a relaxed farewell, with a twinkle in his eye, but once again he doesnot really leave us: the piece has no ending, it just fades away.HelgaUtzTranslation: Charles Johnston5englishtracksplages cd [ Pobierz całość w formacie PDF ]

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