Duo TarTini David Plantier annabelle Luis
Transcript of Duo TarTini David Plantier annabelle Luis
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Continuo, Addio!Duos, sonates et caprices pour violon et violoncelle
Giuseppe tartini (1692-1770)sonate pour violon et violoncelle en sol majeur, Brainard G7 1 Larghetto(cadencedâaprĂšsP.Nardini) 4â43 2 Allegro 3â56 3 Allegro 3â55
Francesco antonio Bonporti (1672-1749) 4 Ariacromaticaevariataenlamineur 5â57
Giuseppe DallâaBaco (1710-1805) 5 Capriciopourvioloncelleseulenmimineur,No.6 3â59
Giovanni BeneDetto platti (1697-1763)ricercata vi en sol majeur 6 Adagio 1â56 7 Allegro 2â13 8 Adagio 4â08 9 Allegro 2â17
pietro narDini (1722-1793) 10 Capriciopourviolonseulendomineur(cadence:D.Plantier) 4â05sonate pour violon et violoncelle en do mineur, op. 5 no. 6 11 Adagio 3â51 12 Allegromoderato 3â30 13 Allegro 3â12
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Johann GeorG alBrechstBerGer (1736-1809)Duetto iii en la mineur 14 Andante 3â44 15 Fuga 1â22
pierre lahoussaye(1735-1818)sonate pour violon et violoncelle en sol mineur, op. 1 no. 4 16 Allegro 4â32 17 Cantabile(cadence:D.Plantier) 4â17 18 Presto 3â04
anDreas romBerG (1767-1821)& BernharD romBerG (1767-1841)Duo concertant pour violon et violoncelle en mi mineur, no. 1 - ca.1801 19 Cantabileconvariazioni 6â16 20Rondo-Allegro 4â31
DurĂ©etotale:75â32
Duo tartiniDavid plantier,violonGiovanniBattistaGuadagnini(1766)annabelle luis,violoncelleNicolasAugustinChappuy(1777)
www.davidplantier.fr
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Continuo, Addio!duos, sonAtes et CApriCes pour violon et violonCelle
« Aviolinosolocolbassocontinuo »,«aviolinoebasso »,«aviolinoevioloneocem-balo »,«aviolinoevioloncelloobassocontinuo »,«aviolino,violoneecembalo »,«aviolinoevioloncello »,«aveclabasse »,«aveclabassecontinue »,«avecaccompagnementdâunalto,dâunebasseoudâunclavecin »,«withathoroughbassfortheharpsichordorabassviolin »âŠtellessontquelques-unesdesindicationsdâinstrumentationsimprimĂ©essurlesfrontispicesdesrecueilsdesonatespourviolonpubliĂ©stoutaulongduXVIIIĂšmesiĂšcle.Lemoinsquelâonpuissedire,câestquelessolutionsdâinterprĂ©tationsemblentĂȘtrenombreusesetvariĂ©es.PourtantlerenouveaudelâinterprĂ©tationbaroquedesderniĂšresdĂ©cenniesaimposĂ©lestandarddelabassecontinuerĂ©alisĂ©eauclavecinetauvioloncelle,faisantfidufameux«o»deCorellietnombredesesdisciples(violoncello o cembalo).Or,lâartmusicaldelâĂ©poqueneconnaitpasdestandard,enparticulierlorsquelâonĂ©voquelesviolonistes.Chaquevioloniste-compositeurmarquelerĂ©pertoiredesonempreinte,avecsamusique,safaçondejouer,satechnique,sonarchet.RiennâestsemblabledâunevilleĂ uneautre,dâunpaysĂ unautre,mĂȘmesidescourantsseforment,desinfluencessefontsentir.
LâomniprĂ©sencedesinstrumentsharmoniquesdanslarĂ©alisationdelabassecontinuenâestĂ©videmmentpasĂ remettreencause,câestlâundesfondementsdelamusiquebaroque.LaquasitotalitĂ©despublicationsdesgrandsĂ©diteursfrançais,hollandaisetanglaiscom-portentainsideschiffragespourlabassecontinuejusquâĂ lafinduXVIIIĂšmesiĂšcle.LapratiqueduclavecinesttrĂšsancrĂ©edanslatradition,jusquedanslescerclesfamiliauxamateurs,auxquelsnombredepublicationssontdestinĂ©es.
MaislâĂ©tudedemanuscritsetpublicationsdâĂ©diteursplusĂ©loignĂ©sdesgrandscentreseuropĂ©ensnousapprendquedâautresusagesontcours,quelespratiquesnesontenaucuncasfigĂ©es,enparticulierdanslecasdeformationsdemusiquedechambre,commelesso-natespourviolon.Dâautresvoiessontclairementpossibles,enparticulierĂ partirdesannĂ©es1740,dĂ©butdela«pĂ©riodedetransition»verslestyleclassique.AvecledĂ©veloppementdelatechniqueviolonistiqueetlâomnipotencedelapartiesoliste,laprĂ©sencedâuninstrumentharmoniquenesembleplusuneĂ©vidence.EtpluslesiĂšcleavance,pluslesexemplesde
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sonatespourviolonetvioloncelleabondent.Porpora,Kraus,J.C.Bach,Benda,Graun,Lolli,Viotti,Gavinies,Campagnoli,Kreutzer,onttouscomposépourcetteformation.
MaiscâestsanscontesteTartinietsesdisciplesdelaScuola delle Nazioni,NardinietLahoussayequiontpropulsĂ©cettenouvellepratiquesurledevantdelascĂšne.CâestdonclâunedesfacettesduprĂ©sentprogramme,dâinterprĂ©terlamusiquedecesgrandsviolonistesduXVIIIĂšmesiĂšcleavecunaccompagnementdevioloncelleseul.Celaneveutpasdirequelevioloncellesecontentedejouersalignedebasse.CesgrandsvirtuosesseproduisaientencompagniedevioloncellistesnonmoinsmĂ©ritants,quidonnaientlibrecoursĂ leurfantaisieetleurimagination,exprimantainsileurtalentdanslâaccompagnementdessonatespourviolon.NousavonsabordĂ©cemerveilleuxrĂ©pertoiredanscetesprit,enserĂ©appropriantlit-tĂ©ralementcettepratique,etendonnantauvioloncellelâoccasiondâinteragirvĂ©ritablementaudiscoursvirtuoseduviolonpardepetitesimitations,desdiminutions,despizzicatis,desaccordsetdouble-cordes.
EnparallĂšle,lesautresĆuvresprĂ©sentesicientendentrendrejusticeauvioloncellecommeinstrumentsoliste,Ă lâĂ©galduviolonaveclespremiersvĂ©ritablesduospourlesdeuxinstruments,genreĂ partentiĂšre,trĂšsenvogueĂ lâĂ©poqueclassiqueetquiaconnudemagnifiquesĂ©volutionsjusquâauXXĂšmesiĂšcle,grĂąceĂ RaveletKodalyenparticulier.
GiuseppeTartini,figureessentielledelafindubaroqueitalien,virtuoseetcompositeurrenommĂ©,jouissaitdâunerĂ©putationdĂ©passantlesfrontiĂšres,encourageantlesjeunesviolonistesĂ venirseperfectionnerĂ sescĂŽtĂ©s.Dâuneexigencerare,ilsemblaithabitĂ©parunequĂȘtedâabsolu,tantmusicalquephilosophique.LerapportĂ lanaturelefascinaitetlâinspirait,lâinscrivantĂ partentiĂšredanslâesthĂ©tiquedeslumiĂšres.Sonstylemusical,aprĂšssâĂȘtreaffranchidumodĂšlecorellienĂ©volue,versplusdesimplicitĂ©,inspirĂ©parlâidĂ©alduchantetduclair-obscur,quâiltraduitenmusiqueparlâalternanceentrecantabileetsuonabile.Letempspassant,savirtuositĂ©semetauservicedelamusique.IlavoueradanssesvieuxjoursavoirĂ©critdespiĂšcestropdifficiles,tropdĂ©monstratives.Danssondernierrecueilmanuscrit,lespiccole sonate,auxquellesnousavonsconsacrĂ©notreprĂ©cĂ©dentenre-gistrement,ilaspireaudĂ©pouillementduviolonseuldanslaplupartdessonates,couchantsurlepapierunebasseoptionnelletrĂšssimplepourlesautres.Labassecontinueafaitlongfeu!Dâailleurs,lesindicesĂ©tayantlathĂšsedelâabandondesinstrumentsharmoniquesde
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continuodanssamusiqueabondent.APragueoĂčilsĂ©journede1723Ă 1726,ilseproduitenduoavecsonamivioloncellisteVandini.MĂȘmesespublicationssuiventlemouvement:sisonopus1publiĂ©Ă AmsterdamchezLeCĂšneaveclâaccordhypothĂ©tiqueducompositeurcomporteunebassechiffrĂ©e,aucunesourcedesonopus2nâencomporte.EtaucundestrĂšsnombreuxconcertosetsonatesmanuscritsnesontchiffrĂ©s.DâailleurslabasiliqueSaintAntoinedePadoueoĂčTartiniofficie,nesemblepasdotĂ©edâunclavecin.LaprĂ©sencedâunorgue,destinĂ©Ă lâaccompagnementdesofficesetdelamusiquereligieuse,estavĂ©rĂ©e,maissionlâaentenduaccompagnerlemaestrodanssesconcertos,câestuniquementdanslestuttisdâorchestre.EneffetTartiniapposesystĂ©matiquementlamentioncon violoncello solosurlesmanuscritsdesesconcertos,oĂčlespartiessolistessontaccompagnĂ©esdâunebasse(laplupartdessolossontgĂ©nĂ©ralementsoutenuspardeuxviolonsseulsĂ©mergeantdelâorchestre).
Enfin,lâimportantmanuscritrecelant56sonatespourviolonconservĂ©Ă Paris,dontplu-sieursversionsducĂ©lĂšbreTrille du Diable,aapportĂ©unargumentdĂ©cisifĂ nosrecherches.IlrecĂšleeneffetdenombreusessonatesinĂ©ditesmanuscrites,quinonseulementnesontpaschiffrĂ©esmaiscomportentlamentionexpressecon violino e violoncello.
NousavonschoisidanscetteminedâorlaSonateB.G7,quirespectelastructureentroismouvements(lentâvifâvif)chĂšreaucompositeur,etquilemontresousunjourplutĂŽtfacĂ©tieuxetinattendu,tantĂŽtrĂȘveur,farceuretbadin.LepremiermouvementprĂ©sentelaparticularitĂ©dâĂȘtreornĂ©delamaindeTartini,cequinouspermetdâapprĂ©ciersonstyleunique,Ă lafoisexpressifetsophistiquĂ©.NousavonsinclusenguisedeclindâĆilunecadenceprovenantdâuncapricedesonprotĂ©gĂ©,Nardini.Lâallegrosuivant,animĂ©dâaccentspopulairesdĂ©toneavantdepasserĂ unthĂšmeavecvariationspleindâesprit,probablementinspirĂ©parunechansondegondoliervĂ©nitien.
LesdeuxautressonatespourviolonduprogrammepermettentderedĂ©couvrirdeuxdisciplesdeTartini.NardinifutsonĂ©lĂšvefavori,etce,dĂšslâĂągededouzeans,etrestatrĂšsprochedeluijusquâĂ lafindesavie,prenantmĂȘmeuncongĂ©desonpostedeviolonsolodelachapelledelacourduGrand-ducLĂ©opolddeToscane,afindeveillersurluiavec«unevraieaffectionfiliale»,selonBurney.Grandvirtuose,iljouissaitdâunerenommĂ©einternationale,voyageantbeaucoupetseproduisantdevantlesplusgrandsprincesdelâĂ©poque.LĂ©opoldMozartquilâentenditen1763remarqualapuretĂ©etlabeautĂ©desasonoritĂ©,etsoninĂ©galable
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sensducantabile.EndignehĂ©ritier,ilperpĂ©tualestyledesonmaĂźtreavantdesâenaffran-chirĂ sontour.Samagnifiquesonateextraitedelâopus5publiĂ©eĂ Londres,dâinspirationtrĂšstartinienne(ellefutdâailleursattribuĂ©eparerreurĂ TartiniparBrainard,lemusico-logueayantcataloguĂ©sessonatespourviolon),etaudramatismeexacerbĂ©,correspondĂ lapremiĂšrepĂ©riodecrĂ©atricedeNardini.BienquelâĂ©ditionlondoniennesoitchiffrĂ©e,selonlestandarddesĂ©ditionsanglaises,laplupartdesessonatesprovenantdâautressourcesnelesontpas.CâestlecasdessonatesmanuscritesconservĂ©esĂ Dresde,oudecellespubliĂ©esparJean-BaptisteCartieren1798danssonconsidĂ©rablerecueilLâArt du Violon.CesderniĂšrescomprennentdâailleursdesmouvementslentsrichementornĂ©s,quiontinspirĂ©notreversiondelâAdagioinitialdelaSonateendomineur.
LeCapricepourviolonseulprovientdâunevastecollectionde100capricesconservĂ©eĂ Berlin.CettecollectioninestimablepermetdâapprĂ©cierlâĂ©tenduedescapacitĂ©stechniquesdeNardini,prĂ©figurantPaganini.UneparticularitĂ©decerecueilrĂ©sidedanslaprĂ©sencedenombreusescadencesconclusivesĂ©crites,cequiconstitueunesourcerareetprĂ©cieusedecegenredâimprovisation,envoguedanslasecondepartieduXVIIIĂšmesiĂšcle.
LepremiercapriceprĂ©senteuneformeparticuliĂšreavecsonalternancedâĂ©pisodeslentsetvifs.
PierreLahoussaye,autreenfantprodigeduviolon,intĂ©graleConcertSpiritueldĂšslâĂągedeneufans.RĂ©soluĂ rencontrerlegrandTartini,ilvoyageaenItaliepeuaprĂšsafindebĂ©nĂ©ficierdesonenseignement.ArrivĂ©Ă SaintAntoinedePadoueoĂčlemaestrojouait,ilfuttellementsaisiparsonjeuquâilnâeutpaslecouragedeseprĂ©senterdevantlui.SatimiditĂ©dĂ©passĂ©e,ilpassadeuxpĂ©riodesĂ Ă©tudierĂ sescĂŽtĂ©s.AsonretourĂ Paris,ilmenaunebrillantecarriĂšredeviolonisteetretrouvaleConcertSpirituel,dontilpritlesrennesentantquechefetpremierviolon.IlycroisalejeuneMozartenvoyageenFrance,quinegoĂ»taguĂšre,lorsdelarĂ©pĂ©titiongĂ©nĂ©rale,samaniĂšrededirigersaSymphonie ParisĂ©critepourlâinstitutionparisienne,etquimenaçadeladirigerlui-mĂȘme.Heureusementtoutsepassabienlorsduconcertlelendemain,quifutungrandsuccĂšs.LaplupartdesĆuvresdeLahoussayenâonthĂ©laspassurvĂ©cu,saufunrecueildesonatespourviolontrĂšsvirtuoses,dontlalignedebasse,nonchiffrĂ©eestclairementdĂ©volueauvioloncelle,entĂ©moignentlesnombreusesindicationsdâarticulationprĂ©sentesdanslapartition.SaSonateensolmineurestunhommageaustyleSturm und Drang,trĂšsenvogueĂ lafinduXVIIIĂšmesiĂšcle.Les
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mouvementsrapidestempétueuxencadrentunbeaucantabilechantantdestylemozartien,maisempreintdemodulationsorageusespréfigurantleromantisme.
Outrecestroiscompositeurs,notreprogrammesâintĂ©resseenparallĂšleauxpremiersduospourviolonetvioloncelle.LesĆuvresexpressĂ©mentdĂ©diĂ©esĂ cesdeuxinstrumentssontplutĂŽtraresĂ lâĂ©poquebaroque,mĂȘmesiquelquesexemplessubsistentdĂšslafinduXVIIĂšmesiĂšcle(ConcertinideGiuseppeTorelli).
LafameusebibliothĂšquedeSchönborn-WiesentheidrenfermequatreRicercatadeGiovanniBenedettoPlatti,particuliĂšrementprĂ©cieux.AuserviceduPrince-archevĂȘquedeSchönborn,Ă WĂŒrzburgenAllemagne,PlattimontradesaffinitĂ©sparticuliĂšresaveclevioloncelle,luidĂ©diantdenombreusesĆuvres,sonatesetconcertos,degrandequalitĂ©.LeRicercata VImetparticuliĂšrementenvaleurlâinstrument,etproposeuntraitementtrĂšshomogĂšnedesdeuxpartiesmusicales.LastructureparticuliĂšrementĂ©quilibrĂ©edelapiĂšceexploiteaumieuxlesdiffĂ©rentsprocĂ©dĂ©sdecompositiondelâĂ©poque:ainsiuneĂ©lĂ©gantesicilienne,unallegrorythmĂ©etvigoureux,unmouvementlentintrospectifetrhĂ©torique,etenfinunefuguesesuccĂšdentavecbonheur.
LâAria cromaticadeBonporti,nâestpasĂ proprementparlĂ©unduo(labasseestchiffrĂ©e),maisilenpossĂšdetouteslescaractĂ©ristiques.Lalignedebasse,loindusimpleaccompa-gnementreprendĂ lalettrelesĂ©volutionssinueusesduviolon,dansundialoguedeplusenpluseffrĂ©nĂ©.UnebasseharmoniquealourdiraiticiconsidĂ©rablementlepropos.LeduorendlejeuautourdeschromatismesbienplustransparentetraffinĂ©,donnantsouplesseetflexibilitĂ©austyleĂ©lĂ©gantdeBonporti,compositeurtrĂšsestimĂ©ensontemps,etdontBachlui-mĂȘmecopiacertainesdesesinventions.
AvecJohannGeorgAlbrechtsberger,nouschangeonsdâĂ©poqueetrejoignonslaViennedeHaydnetMozart,dontilĂ©taitami.LeprĂ©sentduofaitpartiedâunrecueildesix,touscomposĂ©ssouslaformeduprĂ©ludeetfugue.CelanâĂ©tonneguĂšre,Albrechtsbergersâillus-trantparticuliĂšrementparsamaĂźtriseducontrepoint,artquâilenseignadâailleursaujeuneBeethoven.Lemouvementlentintroductif,chromatiqueluiaussi,instaureunclimattour-mentĂ©dansunstylerĂ©solumentmoderne,avecdelongsmĂ©lismesauxdeuxinstruments.LâĂ©nergiquefugueĂ deuxvoix,plusanachronique,montremalgrĂ©sabriĂšvetĂ©,lâhabiletĂ©ducompositeurdanscetexercicequâilmaitriseĂ laperfection.
Leduoconcertantdes«frĂšres»RombergnousemmĂšneĂ lâĂ©poquelaplustardivede
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notreprogramme.ComposerentandemconstitueuneraretĂ©accrocheuse,maisilsnâĂ©taientenrĂ©alitĂ©quecousins,cequinâenlĂšverienĂ laparticularitĂ©decettepublicationdetroismagnifiquesduos.Andreas,violonistecĂ©lĂšbre,futnĂ©anmoinssurpassĂ©parBernhard,violoncelliste,passĂ©Ă lapostĂ©ritĂ©entantquegrandvirtuoseduvioloncelle,enfaisantavancerconsidĂ©rablementlatechniqueetmĂȘmelafacturedelâinstrument.Ilenfitainsirallongerlatouche,afindâenexplorerlespositionslesplusaiguĂ«s,etpubliaunemĂ©thodequifitrĂ©fĂ©rence.
MĂȘmesilâonnesaitpasexactementsilesdeuxcousinsontcollaborĂ©Ă lacompositiondupremierduo,ilestclairquâilsavaientconsciencedeleursvirtuositĂ©srespectives,etĂ cepetitjeu,câestclairementlevioloncellequisetaillelapartdulion.Sesredoutablesinterventionssolistesexplorentleregistreleplusaigudelâinstrument,dansdestraitsfulgurants.NĂ©anmoinsleduonecultivepasforcĂ©mentladĂ©monstration,maisexploiteplutĂŽtlescapacitĂ©sexpressivesdesdeuxprotagonistes.LesvariationssontempreintesdâuneatmosphĂšrenostalgiqueetintimequevientjusteĂ©claircirlemajeurfinal.Lerondo,Ă lafoishumoristiqueetspirituel,prendparfoisdesalluresorchestrales,voirethĂ©Ăątrales,rappelantainsilegoĂ»tdesdeuxmusicienspourlamusiquedâopĂ©ra.
IssudâunegrandelignĂ©edemusiciens,GiuseppeDallâAbacoalaissĂ©deprĂ©cieuxca-pricespourvioloncelleseulquimettentparticuliĂšrementbienenvaleurlâinstrument.LeCapricen°6enexploitetouteslespossibilitĂ©ssonores,avecsoncantabile quinedĂ©parepasavecceuxdeTartinietNardini.DâunsimplemouvementrĂ©gulierdecroches,lapiĂšcesedĂ©veloppedemaniĂšreampleavecunsensdelarhĂ©toriqueetdelanarrationadmirables,coupantĂ lâoccasionlalignedesautssurprenants.
Ceparcoursmusicaldeduosetsonatespourviolonetvioloncelle,nousoffreuneexpĂ©-riencenouvelle,richeetpassionnantedâunpointdevuehistorique,avecdesĆuvresdetoutebeautĂ©,descompositeursquimĂ©ritentdâĂȘtrerĂ©vĂ©lĂ©s,etsurtoutladĂ©couvertedâunenouvelleimagesonore.LaplĂ©nitudedeseulementdeuxinstrumentsdelamĂȘmefamillesurprend,tandisquelescouleursinfiniesetlaflexibilitĂ©inĂ©diteoffertesparcettecombinaison,rĂ©vĂšlentuneexpĂ©riencemusicaleinoubliable.
David Plantier
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Continuo, Addio! duets, sonAtAs And CApriCes for violin And Cello
âAviolinosolocolbassocontinuoâ,âaviolinoebassoâ,âaviolinoevioloneocembaloâ,âaviolinoevioloncelloobassocontinuoâ,âaviolino,violoneecembaloâ,âaviolinoevio-loncelloâ,âaveclabassecontinueâ,âavecaccompagnementdâunalto,dâunebasseoudâunclavecinâ,âwithathoroughbassfortheharpsichordorabassviolinââŠsuchareafewoftheindicationsofinstrumentationsprintedonthefrontispiecesofthealbumsofsonatasforviolinpublishedinthecourseoftheeighteenthcentury.Theleastthatcanbesaidisthatthesolutionsforperformanceseemtobenumerousandvaried.However,therenewalofbaroqueperformancesoverthelastfewdecadeshasimposedthestandardofthecontinuobassontheharpsichordandcello,quiteignoringthefamousâoâofCorelliandmanyofhisdisciples(violoncello o cembalo).Indeed,themusicalartofthedayknewnostandard,inparticularwithregardtoviolinists.Eachviolinist-composermarkedtherepertorywithhisimprint,hismusic,hismannerofplaying,histechnique,hisbowing.Nothingissimilarfromonecitytoanother,onecountrytoanother,eveniftrendswerecreated,influencescametobefelt.
Theomnipresenceofharmonicinstrumentsintherealisationofthecontinuobassisofcoursenotwhathastobecalledintoquestion,thatbeingoneofthefoundationsofbaroquemusic.ThequasitotalityoftheeditionsofthegreatFrench,DutchandEnglishpublishersincludefiguresforthecontinuobassupuntiltheendoftheeighteenthcentury.Thepracticeoftheharpsichordwassolidlyengrainedinthetradition,includinginamateurfamilycircles,forwhommanyofthepublicationswereintended.
YetstudyofthemanuscriptsandpublishededitionsfurtherremovedfromtheleadingEuropeancentresinformsusofotherpractices,thatthesepracticesarebynomeansfixed,inparticularwithregardtochamberformationssuchassonatasforviolin.Otherpathsareclearlypossible,especiallyfromthe1740s,thestartoftheâtransitionperiodâtowardstheclassicalstyle.Withthedevelopmentoftheviolintechniqueandtheomnipotenceofthesolopart,thepresenceofaharmonicinstrumentnolongerseemstobeagiven.Andthemorethecenturyadvances,themoreonefindsanabundanceofsonatasforviolinandcello.Porpora,Kraus,J.C.Bach,Benda,Graun,Lolli,Viotti,Gavinies,Campagnoli,Kreutzerall
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composedforthisformation.YetitwasunquestionablyTartiniandhisdisciplesoftheScuola delle Nazioni,Nardini
andLahoussaye,whopushedthisnewpracticeintothelimelight.Oneoftheaimsthere-foreofthispresentprogrammeistoperformthemusicofthesegreateighteenth-centuryviolinistswithanaccompanimentofsolocello.Thisdoesnotmeanthatthecellomerelyplaysitsbassline.Thegreatvirtuososperformedinthecompanyofcellistswhowerenolessmeritorious,whogavefreereintotheirfancyandtheirimagination,expressinginthiswaytheirtalentforaccompanyingviolinsonatas.Wehaveapproachedthismarvellousrepertoryinthisspirit,regainingpossessionquiteliterallyofthispractice,andgivingthecellotheopportunitygenuinelytointeractwiththeviolinâsvirtuosopartwithlittleimitations,diminutions,pizzicati,chordsanddoublestopping.
Inparallel,theotherworkspresentedhereseektorenderjusticetothecelloasasoloinstrument,theequaloftheviolin,withthefirstveritableduetsforthetwoinstruments,aquiteseparategenre,muchinvogueintheclassicalperiodandtheobjectofsomemagnifi-centdevelopmentsupuntilthetwentiethcentury,thankstoRavelandKodalyinparticular.
GiuseppeTartini,acrucialfigureofthelateItalianbaroque,acelebratedvirtuosoandcomposer,enjoyedareputationthatwentbeyondfrontiers,encouragingyoungvioliniststotakeadvancedstudieswithhim.Unusuallydemanding,heseemedtobepossessedbyaquestfortheabsolute,bothmusicalandphilosophical.Therelationshipwithnaturefascinatedandinspiredhim,givinghimaquitespecialplaceinEnlightenmentĂŠsthetics.Hismusi-calstyle,onceithadbecomeemancipatedfromtheCorellimodel,evolvedtowardsgreatersimplicity,inspiredbytheidealofsingingandofchiaroscuro,featuresthathetranslatedintomusicbyalternatingbetweencantabileandsuonabile.Withthepassageoftime,hisvirtuositywasputtotheserviceofmusic.Inhislatteryearsheconfessedtohavingwrittenpiecesthatweretoodifficult,toooutgoing.Inhisfinalmanuscriptalbum,thepiccole sonate,towhichwedevotedourpreviousrecording,heaspiredtoaparingbacktoasoloviolininmostofhissonatas,writingdownonpaperaverysimple,optionalbassfortheothers.Thecontinuobasshadagoodinnings!Moreover,indicationsaboundoftheideathatharmoniccontinuoinstrumentswereabandonedinhismusic.InPrague,whereheresidedfrom1723to1726,heappearedinaduetwithhiscellistfriendVandini.Evenhispublicationsfollow
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themovement:whereashisopus1,publishedinAmsterdambyLeCĂšnewiththecomposerâshypotheticalagreementincludesafiguredbass,notonesourceofhisopus2carriesany.Andnoneoftheverynumerousmanuscriptconcertosandsonatasarefigured.Moreover,thebasilicaofSaintAntonyofPaduawhereTartiniheldanofficialposition,doesnotseemtohavepossessedaharpsichord.Thepresenceofanorgan,intendedtoaccompanytheof-ficesandthesacredmusic,isattested,yetifithadbeenheardtoaccompanythemaestroinhisconcertos,itwasexclusivelyintheorchestraltuttis.Tartiniindeedsystematicallywrotedownthementioncon violoncello soloonthemanuscriptsofhisconcertos,wherethesolopartsareaccompaniedbyabass(mostofthesolosaregenerallysupportedbyonlytwoviolinstakenfromtheorchestra).
Lastly,theimportantmanuscriptof56sonatasforviolinpreservedinParis,whichincludesseveralversionsofthecelebratedDevilâs Trill,furnishedadecisiveargumentinourresearch.Itcontainsmanyunpublishedmanuscriptsonatasthatarenotonlynotfiguredbutbearthedeliberatementioncon violino e violoncello.
FromthisgoldminewehavechosentheSonataB.G7,whichrespectsthethree-move-mentstructure(slowâfastâfast)deartothecomposer,andwhichshowsitinasomewhatmischievousandunexpectedlight,byturnsdreamy,jokingandplayful.ThefirstmovementofferstheparticularityofbeingdecoratedbythehandofTartini,afeaturethatenablesustogainsomeappreciationofhisuniquestyle,whichwasbothexpressiveandrefined.WehaveincludedasaknowinghintacadenzatakenfromacapricebyhisprotĂ©gĂ©,Nardini.Thefollowingallegro,enlivenedwithtraditionalfolktonesexplodesbeforemovingtoathemewithvariationsthatisfullofwit,inspiredprobablybyaVenetiangondolierâssong.
Theothertwosonatasforviolinintheprogrammeenableonetorediscovertwodis-ciplesofTartini.Nardiniwashisfavouritepupil,andthisfromtheageof12,andheremai-nedveryclosetohimuntiltheendofhislife,eventakingtimeoffhisjobassoloviolinatthecourtchapelofGrandDukeLeopoldofTuscanyinordertolookafterhimwithâtruefilialaffectionâaccordingtoBurney.Agreatvirtuoso,heenjoyedinternationalrenown,travellingalotandperformingbeforethegreatestprincesoftheday.LeopoldMozart,afterhearinghimin1763,notedthepurityandbeautyofhissonority,andhisunequalledsenseofcantabile.Asaworthyinheritor,hecarriedonhisteacherâsstylebeforeinturnemancipatinghimselffromit.Themagnificentsonatatakenfromhisopus5publishedin
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London,ofveryTartinianinspiration(itwasinfactwronglyattributedtoTartinibyBrai-nard,themusicologistwhohadcataloguedhisviolinsonatas),andexacerbateddramaticflair,correspondstoNardiniâsfirstcreativeperiod.AlthoughtheLondoneditionisfigured,followingthestandardofEnglishpublications,mostofhissonatasfromothersourcesarenotfigured.ThisisthecasewiththemanuscriptsonataspreservedinDresden,aswellasthosepublishedbyJean-BaptisteCartierin1798inhissizeablealbumLâArt du violon.Theselatterindeedincludeslowmovementsthatarerichlydecorated,andtheyhaveinspiredourversionoftheopeningAdagiooftheSonatainCminor.
TheCapriceforsoloviolincomesfromavastcollectionof100capricespreservedinBerlin.ThisinestimablecollectionenablesonetoappreciatetheextentofNardiniâstech-nicalcapabilities,prefiguringthoseofPaganini.Oneparticularityofthisalbumliesinthepresenceofmanynotatedfinalcadenzas,whichconstitutesarareandprecioussourceofthiskindofimprovisation,invogueinthesecondhalfoftheeighteenthcentury.
Theformofthefirstcapriceisespeciallystrikingwithitsalternationofslowandfastepisodes.
PierreLahoussaye,anotherchildprodigyoftheviolin,joinedtheConcertSpirituelwhenhewasonlynineyearsold.DeterminedtomeetthegreatTartini,hetravelledtoItalyshortlyafterwardsinordertotakeadvantageofhisteaching.WhenhearrivedatSaintAntonyofPaduawherethemaestrowasplaying,hewassogrippedbyhisplayingthatatfirsthedidnothavethecouragetopresenthimself.Overcominghistimidity,hespenttwoperiodsstudyingalongsidehim.OnreturningtoParisheledabrilliantcareerasaviolinistandrejoinedtheConcertSpirituel,takingoverasbothconductorandfirstviolin.TherehemettheyoungMozartwhowastravellinginFrance,andwhodidnotcare,duringthedressrehearsal,forhismannerofconductinghisParis Symphony,speciallywrittenfortheParisinstitution,threa-teningtoconductithimself.Happilyallwentoffwellduringtheconcertonthefollowingday,whichwasagreatsuccess.MostofLahoussayeâsworkshave,alas,notsurvived,justanalbumofhighlyvirtuosoviolinsonatas,thebasslineofwhich,unfigured,isclearlyintendedforthecello,asisbornoutbythemanyindicationsofarticulationpresentinthescore.HisSonatainGminorisahomagetotheSturm und Drangstyle,verymuchinvogueinthelateeighteenthcentury.Thestormyfastmovementsframeabeautiful,lyricalcantabileinthestyleofMozart,imbued,however,withtempestuousmodulationsthatlookforwardtoRomanticism.
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Apartfromthesethreecomposers,ourprogrammealsofeaturesthefirstduetsforviolinandcello.Theworksintentionallywrittenforthesetwoinstrumentsarefairlyrareinthebaroqueperiod,evenifafewexamplescanbefoundfromthelateseventeenthcentury(ConcertiniofGiuseppeTorelli).
ThefamouslibraryofSchönborn-WiesentheidincludesfourRicercataofGiovanniBenedettoPlattithatareparticularlyprecious.IntheserviceofthePrince-ArchbishopofSchönborn,inWĂŒrzburginGermany,Plattishowedaparticularaffinitywiththecello,composingforitmanyworks,sonatasandconcertos,thatareofgreatquality.TheRicer-cata VIisanespeciallygoodshowcasefortheinstrument,andoffershighlyhomogeneoustreatmentofthetwomusicalparts.Theparticularlywell-balancedstructureofthepieceexploitstothefullthedifferentcompositionalprocessesofthetime:anelegantsicilienne,avigorouslyrhythmicallegro,aslowmovementthatisbothmeditativeandrhetorical,andfinallyafuguefollowonfromoneanothermostfelicitously.
BonportiâsAria cromaticaisnotstrictlyspeakingaduet(thebassisfigured),yetithasallthehallmarksofone.Thebassline,farfrombeingamereaccompaniment,takesupnotefornotethesinuousevolutionsoftheviolininadialoguethatbecomeevermorewild.Aharmonicbasswouldweighdownthetextureconsiderablyhere.Theduetmakestheplayofchromaticismsmuchmoretransparentandrefined,givingsupplenessandflexibilitytotheelegantstyleofBonporti,acomposerhighlyesteemedinhisday,Bachhimselfcopyingsomeofhisinventions.
WithJohannGeorgAlbrechtsbergerwechangeepochsandrejointheViennaofHaydnandMozart,whosefriendhewas.Thepresentduetformspartofanalbumofsix,allcom-posedintheformofapreludeandfugue.ThisishardlysurprisingasAlbrechtsbergergainedparticularfamebyhismasteryofcounterpoint,anartheindeedtaughttotheyoungBeethoven.Theintroductoryslowmovement,alsochromatic,setsupanatmosphereofanguishinaresolutelymodernstyle,withlongmelismasforbothinstruments.Theener-getictwo-partfugue,moreanachronistic,shows,despiteitsbrevity,thecomposerâsskillinanexercisehemasteredtoperfection.
TheconcertanteduetoftheRombergâbrothersâtakesustothelatestperiodofourprogramme.Composingintandemisaneye-catchingrarity,yetinrealitytheywerebutcousins,thoughthisdoesnotdiminishtheparticularityofthispublicationwithitsthree
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magnificentduets.Andreas,afamousviolinist,wasnonethelesssurpassedbyBernhard,acellist,whohascomedownthroughposterityasagreatcellovirtuosobymakingconside-rablestridesinadvancingthetechniqueandeventhemanufactureoftheinstrument.Forexample,hehadthefingerboardlengthenedinordertobeabletoexploittheveryhighestpositions,andhepublishedamethodthatbecameareferencework.
Evenifitisnotknownexactlyifthetwocousinscollaboratedonthecompositionofthefirstduet,itisclearthattheywerewellawareoftheirrespectivevirtuosotalents,andinthislittlegameitismanifestlythecellothathasthelionâsshare.Hisformidablesolointerventionsexploretheinstrumentâshighestregister,withsomedazzlingfigures.Inspiteofthistheduetdoesnotseeknecessarilytofosterdisplay,exploitingrathertheexpressivecapabilitiesofthetwoprotagonists.Thevariationsaremarkedbyanatmosphereofintimacyandnostalgiahighlightedbytheconcludingmajorkey.Therondo,bothdrollandwitty,hasattimesanorchestralfeel,theatricaleven,recallingthetwomusiciansâtasteforoperamusic.
Belongingtoagreatlineofmusicians,GiuseppeDallâAbacoleftsomepreciouscapricesforsolocellothatshowtheinstrumentofftoparticularadvantage.CapriceNo.6makesuseofallsoundresources,withacantabile thatrivalsthoseofTartiniandNardini.Withitssimple,regularquavermovement,thepiecedevelopsbroadlywithanadmirablefeelforrhe-toricandnarration,onoccasioninterruptingthesmoothlinewithsomesurprisingleaps.
Thismusicaljourneyofduetsandsonatasforviolinandcelloprovidesuswithanovelexperience,onethatisdiverseandfascinatingfromahistoricalpointofview,withsomethoroughlybeautifulworks,bycomposerswhowelldeservetoberevealed,andaboveallthediscoveryofanewsoundimage.Thefullnessofonlytwoinstrumentsofthesamefamilyisasurprise,whiletheinfinitecoloursandtheuncommonflexibilitypresentedbythiscombinationproduceanunforgettablemusicalexperience.
David PlantierTranslation:JeremyDrake
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recorded at the Eglise Saint-rĂ©mi de Franc-WarĂȘt (Belgium) from 4 to 7 September 2018Producer, sound engineer and editing: aline Blondiau
Cover picture: © andrea MionPhotos: (c) Le Concert dâastrĂ©e (p. 4) / (c) Jana Jocif (p. 11) / (c) agogique (margins)
Graphic design: aurĂ©lie Commerce, Michel De Backer (mpointproduction)(c) â (p) 2019 off The records
mu-031www.muso.mu
Remerciements Ă nos nombreux et gĂ©nĂ©reux donateurs, sans lesquels ce projet nâaurait pas pu voir le jour.
Remerciements Ă Dominique et Olivier de Spoelberch, pour le prĂȘt du magnifique violon de Giovanni Battista Gudagnini, et pour leur soutien logistique et leur accueil chaleureux lors de cet enregistrement.
David Plantier