French cello music on the Palazzetto BruZane | EUROtoday

Gute Nachrichten für die Cello-Community: Ihre Repertoiresorgen dürften sich in absehbarer Zeit mindestens halbieren. Ein Riesengeschenkpaket mit französischer Cello-Literatur erwartet sie in einer neuen Anthologie des Palazzetto Bru Zane, des Zentrums für die Erforschung französischer Musik der Romantik mit Sitz in Venedig. Wer auch nur einen oberflächlichen Eindruck davon hat, was dieses Institut in den fünfzehn Jahren seines Bestehens an unbekannter Musik entdeckt, ediert, aufgeführt und eingespielt hat, wie viele Komponisten und vor allem Komponistinnen es aus der Versenkung geholt und auch durch Buchveröffentlichungen und Konferenzen dem Publikum näher gebracht hat, kann ermessen, wie gründlich diese Cello-Anthologie vorbereitet wird.

Wie lange auch die Vorlaufzeit vom Aufspüren der Noten, meistens als Manuskript und in Einzelstimmen, bis zur CD-Einspielung dauert. Und wer bisher geglaubt hat, die Hauptaufgabe des Palazzetto läge in erster Linie in der Erweiterung des französischen Opernrepertoires, muss sich korrigieren lassen, denn Orchester- und Kammermusik nehmen einen stolzen Platz ein, vor allem in Venedig, wo im eigenen Veranstaltungssaal des Palazzetto regelmäßig Kammerkonzerte stattfinden.

Neu ist allerdings die Fokussierung auf ein einzelnes Instrument. Alexandre Dratwicki, künstlerischer Leiter des Palazzetto, erklärt auch, warum: das Cello habe in der Romantik zwischen Violine und Klavier das aufregendste Repertoire. Dieses publik zu machen, ist sein Langstreckenziel, und schon sprudelt es aus ihm heraus, wie viele Werke für Cello und Orchester (erst)aufgeführt werden müssen – von Guy Ropartz, Théodore Dubois, André Caplet, Juliette Folville, Emmanuel Rhené-Baton, Guillaume Lekeu. Allein zweihundert unbekannte Cello-Sonaten seien im Zuge der Recherchearbeiten aufgetaucht. Und nie sei die Anfrage nach einem Werk so groß gewesen, wie nach der Aufnahme der wiederentdeckten, umwerfenden Cello-Sonate „Titus et Bérénice“ von Rita Strohl, ergänzt Etienne Jardin, der Leiter der Forschungsabteilung. Edgar Moreau und David Kadouch spielten diese symphonische Dichtung im Duo-Format nach dem gleichnamigen Schauspiel von Jean Racine schon 2016 ein: ein Originalwerk von 1892, das die Cello-Gemeinde in die großzügige Lage versetzt, die adaptierte Violinsonate von César Franck wieder allein den Geigern zu überlassen.

Jardin skilled related curiosity in one other cello work, he continues, after the recording of the convention-breaking cello concerto by Marie Jaëll with Xavier Phillips and the Brussels Philharmonic underneath Hervé Niquet. Jardin concludes that cellists are in all probability probably the most curious and accountable in the direction of new repertoire amongst instrumentalists – which solely confirms the acceptance of those two works.

The soloist of the Jaëll concerto, collectively together with his professor colleague from Lyon, Anne Gastinel, and two grasp’s college students, carried out a night between spiritual devotion and live performance bravura through the small “Passione Violoncello” competition in Venice. And once more it was a composer, Hélène-Frédérique de Faye-Jozin, who attracted everybody’s sympathy along with her admiration for the “sacred” nature of the forest. It is placing what number of feminine composers wrote for cello and flute, regardless that they weren’t allowed to play these devices out of propriety.

But a French girl additionally ignored this, appeared in flowing attire and even went on tour along with her cello case: Lise Cristiani, to whom Felix Mendelssohn devoted his “Song without Words” op. 109 after her visitor efficiency in Leipzig. Her thirst for journey and wish for survival took her to Siberia and the North Caucasus, the place she died of cholera on the age of simply 26. Her Stradivarius instrument survived. She belonged to the second part of the romantic cello, by which style items, meditations, elegies, nocturnes, fantasies on opera themes or preparations had been on this system. Auguste Franchomme, for instance, for whom Frédéric Chopin wrote his Cello Sonata, transcribed three preludes from his Opus 28 for 4 cellos. They had been carried out in Venice, as was his Romance for cello and string quartet op. 10, a sonically very interesting piece with a singing solo cello in a consort-like darkish sound.

The cello’s profession in France started a lot later than in Italy and Germany, solely in 1795 with the founding of the Paris Conservatory. For a very long time it had no probability in opposition to the viol. In 1802, Charles-Nicolas Baudiot, first cellist on the Paris Opera, grew to become a professor on the conservatory and, collectively together with his violin colleague Pierre Baillot, wrote the primary textbook for the cello, the “Méthode violoncelle du Conservatoire”, which was to be adopted by two extra. The custom he felt dedicated to compositionally is obvious from the title of the work, which was in all probability carried out once more for the primary time in Venice: Quintet for 2 cellos op. 34 No. 1. In Paris, this line-up doesn’t level to Franz Schubert, however to Luigi Boccherini, who, because of his presence on the Pleyel publishing home, achieved chamber music energy, regardless that he solely visited Paris as soon as earlier than settling in Spain.

Even after his dying in 1805, first printings appeared in Paris, and in 1822 the Janet and Cotelle publishing home printed a whole version of all of his 93 string quintets that had been printed thus far. So you possibly can hardly escape them, particularly as a cellist. The incontrovertible fact that Boccherini was capable of develop into a “model” of French chamber music, as Etienne Jardin says, can be linked to live performance observe. Contrary to the widespread opinion that there was nearly no chamber music in France within the first half of the nineteenth century, it was firmly established in 1814 with Baillot’s quartet academies. Not solely Boccherini’s works are carried out, but additionally the quintets of one other grand grasp of this line-up: George Onslow. In addition to 36 string quartets, he left behind 34 string quintets and three nice cello sonatas, which had been launched on CD in collaboration with the Palazzetto in 2014.

Onslow, then again, himself a cellist, brings Viennese classical music, particularly Beethoven, to Paris in his works and is even thought-about the French Beethoven. And blessed with these Italian-Spanish-German-Austrian-French sponsors, the cello will develop into the instrument of the longer term – European.