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BEETHOVEN VARIATIONS FESTIVAL , KEYSTO LISTENING AND INTERPRETATION , ROMANTIC VIOLONCELLISTS

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BEETHOVEN VARIATIONS FESTIVAL

While Beethoven has become an almost standardised popular icon, our focus is on the creative artist, the musician who at each concert knew how to surprise his audience with almost improvised pieces and whose genius expressed itself in the creation of numerous variations. 

In this Parisian salon we will listen to the Wranitsky variations by Edoardo Torbianelli, professor at the Schola Cantorum Basiliensis, at the University of Arts in Bern, to the Sonata à Thérèse by Luca Montebugnoli, professor at the CRR in Paris and to the Trio op.11. for clarinet, cello and piano on the theme "Pria ch'io l'impegno" from Weigl's opera, which the Ensemble Lélio enriches with the operatic aria and an Irish song very fashionable at the time of Beethoven.

Filmed at Salon Streicher, by Véronique Burnod

Original Rosenberger piano 1820, collection Luca Montebugnoli

Film maker Elie Delpit, Co-production Bleu Danube & La Nouvelle Athènes

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MASTERCLASSE BRAHMS

We are in the early stages of a movement to re-read the Romantic repertoire, which can go as far as the Baroque movement did 40 years ago.

In this masterclass filmed at the Buttes Chaumont, on the association's  Viennese period Streicher piano 1847, Kai Köpp reveals a method - crossing the sources written and recorded at the end of the 19th century - to get away from the modern stereotypes and to find again the fluidity of tempo and melodic line; the feeling of a quasi improvisation that emanates from these old recordings.


 

Filmed at Salon Streicher, by Véronique Burnod

Original Streicher piano 1847, collection La Nouvelle Athènes

Film maker Elie Delpit, Co-production Bleu Danube & La Nouvelle Athènes

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SCHUMANN, BRAHMS, REINECKE AND THEIR CIRCLES:

SCHUMANN & WALTZER OP.39 BRAHMS

The use of recordings of Clara and Brahms' pupils (such as Ilona Eibenschütz, Fanny Davies or Lara's Adelina) together with those of other pianists (such as, for example, Alfred Grünfeld, who was highly appreciated in his interpretation of the Viennese waltzes) as well as written testimonies about their teaching and playing will enable us to get closer to what they recognised as a beautiful interpretation of these dances and perhaps give some clues to imagine possible answers to these questions.

Recorded in the studio of Christoph Kern,

Staufen im Breisgau (Germany)

Original Blüthner Piano 1856, Collection Christoph Kern

Directed by Elam Rotem

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SCHUMANN, BRAHMS, REINECKE AND THEIR CIRCLES:

: SONATA OP. 78 BRAHMS

What began as an experiment to rehearse during the confinement turned into a professional recording of the first movement of Brahms' Violin Sonata op. 78. This work was composed at the same time as the Violin Concerto in 1878 with his friend and close collaborator, violinist Joseph Joachim, in mind. Joachim was particularly famous for his style of free interpretation which gave the public an impression of extreme spontaneity and great intimacy. Johannes Gebauer and Sebastian Bausch reinterview the sound and didactic sources to find indications for their re-reading of this repertoire.

 

Recorded remotely between Berlin and St. Gallen

Johannes Gebauer violin, Sebastian Bausch 

Original piano Bösendorfer 1908

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SCHUMANN, BRAHMS, REINECKE AND THEIR CIRCLES:

: BEETHOVEN BY REINECKE

The precious recording of the piano roll only captured the tempo and rhythm of Reinecke's performance, while the dynamics could not be recorded. In order to give at least an impression of how Reinecke's playing might have sounded, Sebastian Bausch proposes to reconstruct his interpretation as faithfully as possible and to add the missing dynamics in a plausible way, based on his studies of Reinecke's writings on piano playing and on historical recordings of stylistically comparable pianists.

Recorded in the studio of Christoph Kern,

Staufen im Breisgau (Germany)

Original Blüthner Piano 1856, Collection Christoph Kern

Directed by Elam Rotem

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ROMANTIC CELLISTS : SAINT-SAENS

For this program, we have at our disposal not only recordings by Saint-Saëns himself at the piano, but also by his partners such as the Dutch cellist Joseph Hollman, the French violinist Gabriel Willaume, the virtuoso Pablo de Sarasate... These recordings often have a special charm, a certain candor in the playing of these latter romantics, and at the same time, an unconstrained verve and élan, the musicians seeming to express with perfect naturalness and without compromise the deep meaning of each musical moment. Octavie Dostaler-Lalonde and Artem Belogurov were inspired by the study of these recordings to propose their own interpretation.

Amsterdam - Octavie Dostaler-Lalonde cello & Artem Belogurov piano, 

Romance et Valse Langoureuse de Camille Saint-Saens, 

 Andrea Friggi film maker, 

In the « salon » of Viola de Hoog & Marten Root, on their Blüthner piano

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ROMANTIC CELLISTS : SCHUMANN, POPPER, SERVAIS

From the recording of the accompaniment of Schumann's Abendlied by Georges Enesco, preserved on an unpublished roll, and accompanied by a voice-over reciting the verses of the Lied, Aldo Mata interprets this famous Lied. He was inspired by the testimonies of Andreas Moser, Joachim's assistant, and recordings of the violinist Marie Soldat.

The Etudes of Popper, cellist partner of Brahms and Liszt, illustrate the Central European conception of the romantic cello and its link with Chopin. 

All this is in opposition to the Franco-Belgian school, embodied on the cello by Adrien-François Servais, with a fragment of his Souvenir de Spa which opens up a whole world of portamento through his expressive fingerings".

Aldo Mata, cello, Georges Enesco, piano recorded 1926, Jeanne-Marie Lelièvre voice

Filmed in Madrid – Salon de l'Escuela Superior de Canto

Film maker Alexis Delgado

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ROMANTIC CELLISTS : FRANCHOMME

Franchomme was certainly inspired for this composition by his friend Frédéric Chopin, the most famous composer representative of this musical form. He wrote it in connection with the vocal idea of the Italian melodrama of the time. 

 

We do not have a direct recording of Franchomme, the elaboration of this interpretation was built up thanks to the appropriation of written sources from Chopin and Franchomme's circles, notably the reviews of their concerts. The duo has also endeavoured to find a free play (rhythmic flexibility, intonation - portamento, vibrato), capable of reacting to the partner's proposals, making each concert unique, in a feeling of quasi-improvisation.

 

Recorded Lived at Royaumont abbey

Cello C.A. Miremont 1880, Bow F.N. Voirin 1870, gutstrings

Original Piano Pleyel 1842, collection Edwin Beunk

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