Création 26/08/2015 - Sion (Suisse) - Finale du Concours International de violon Tibor Varga - Orchestre de Chambre de Lausanne Commanditaire Concours International de violon Tibor Varga Notice Le futurisme italien fut, au début du XXe siècle, le premier véritable mouvement d'avant-garde qui, en Europe, refusa l'art dans sa totalité, décréta l'abolition du passé et prétendit rénover tous les aspects de la vie humaine en cherchant à exprimer la nature et les problèmes du monde moderne. Le mouvement fut inauguré par Marinetti en 1909, suivi un an plus tard du manifeste de la peinture futuriste signé par Giacomo Balla, Carlo Carrà, Umberto Boccioni et Luigi Russolo. La bataille futuriste, qui mobilisa le vif de l'art italien de 1910 à 1916, naquit d'une violente polémique contre la tradition figurative et la conception de l'image-spectacle. La philosophie futuriste, nourrie d'élan vital, d'utopie machiniste et d'ardeur dionysiaque entendait dynamiter la culture antiquaire de l'Italie officielle. Marinetti exalte la vitesse, le mouvement, le bruit, la guerre. Mais aussi la pulsion, la déraison, la transgression, le débridement des ambitions et des désirs humains. Le caractère novateur et visionnaire du futurisme italien fut toutefois passablement terni par ses imprécations et ses fourvoiements politiques. Laissant de côté l'orientation réactionnaire du mouvement et son esprit de clocher extrémiste, on retiendra, parmi les traits les plus originaux du futurisme pictural, la recherche de la représentation du mouvement, avant l'invention du cinéma et avant l'art cinétique. S'inspirant des séquences photographiques d'Eadward Muybridge et de la chronophotographie d'Etienne-Jules Marey, les futuristes italiens sont parvenus à un incontestable degré de réussite dans le domaine proprement plastique. Le processus du devenir est représenté comme tel, et se déploie selon des lignes de force et des formes en croissance. La couleur est également saisie dans son dynamisme, avec ses foyers et ses aires de diffusion. Dans Le mani del violinista, une huile sur toile de 1912 aujourd'hui à Londres, Giacomo Balla s'est également livré à un exercice de synesthésie, cherchant à transposer en images un processus qui fait appel à d'autres modalités sensorielles. Le geste du violoniste, le placement de l'instrument à hauteur d'épaule, les mouvements combinés de la main et du bras, l'écartement et l'échelle d'appui des doigts de la main gauche, la mise en vibration des cordes, l'élan et le rebondissement de l'archet, sa vivacité et son exactitude, tous ces facteurs qui d'ordinaire demeurent imperceptibles et indissociables sont ainsi décomposés, puis réunis et rendus en une impression unique. Les mouvements successifs de la main et les morsures d'archet se séparent selon des procédés pointillistes, puis s'assemblent en une séquence accélérée et se lient dans le même fondu qui restitue l'unité et les inflexions de la tension musculaire. Ce qui est donné à voir n'est pas une illustration réaliste ni une nomenclature des possibilités instrumentales mais un condensé des allures de l'exécution transcendante, montrant les réflexes d'une main rompue au mécanisme de son instrument. Ma propre version musicale de la toile de Giacomo Balla s'inspire des caractères de cette vision futuriste de l'art. La virtuosité même de l'instrumentiste, son habileté d'exécutant, est ici expressément représentée comme un art de l'art. La partition porte une attention aigüe à la technique spécifique de l'effet sonore, à la justesse du geste instrumental dans la dépense de l'archet et la souplesse des déplacements. La grande école des violonistes consistait à faire disparaître le manteau rugueux des aspérités naturelles de l'instrument sous une surface lisse et parfaite de sonorités épurées. Ce grand art évolue aujourd'hui sous la pression d'une esthétique contemporaine plus sensible au grain, aux effets de texture voire aux effets raboteux de l'archet. Un autre type de virtuosité se fait jour, qui intègre les coups d'archets, les accents, les sons dénaturés, dans une sorte de formalisme instrumental pris au second degré. Les interférences entre les différents modes de jeu importent plus désormais que leur intégration dans une sonorité optimale. Cet art insatiable ne recherche plus la magnificence mais l'épreuve. La partition se divise en trois grandes parties. La première est une cadence confiée au soliste, centrée sur les accords, la rythmique et les enjambements d'une articulation qui ne se plie pas aux divisions métriques de la mesure. La seconde partie est l'enfer des violonistes et met aux prises, parmi toutes les cordes de l'orchestre, des figures contrapuntiques hachées, heurtées et contrastées. La troisième partie est davantage tournée vers des études d'équilibre de sonorités, dont la cohérence est délicate à obtenir car les notes se situent dans des registres extrêmes ou paradoxaux. Le soliste est confronté à un type nouveau de virtuosité, celui des sons harmoniques - groupes d'harmoniques naturels ou artificiels. Commande du Concours International de Violon Tibor Varga Sion Valais, la partition est écrite pour l'Edition 2015 de ce Concours. L'oeuvre est dédiée à Enzo Restagno. Hugues Dufourt

The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre

The standard edition!Now that all the scores, Critical Commentaries and complete performance materials have been published for Beethoven's five Piano Concertos(BA 9021-9025), Bärenreiter are now presenting the five study score editions in a boxed set. The musical text reflects a judicious study of every surviving source, producing an Urtext edition at the very highest level.Rounding off the edition are an informative Introduction by Beethoven scholar Barry Cooper on the genesis of the works and a Foreword by the renowned editor Jonathan Del Mar describing the sources and the editorial approach.- Bärenreiter Urtext edition at the cutting edge of scholarship- The standard edition for pianists, students, conductors and libraries- Attractively priced boxed setThe study scores are not available separately at present. / Conducteur De Poche

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication of the Beethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. - A new reference set of Beethoven's Symphonies for students, conductors and libraries Edition no.: BA 9000 ISMN: 9790006540952 Editor: Del Mar, Jonathan Language(s) of text: German, English Product format: Score, Anthology, Urtext edition Includes the following individual parts: Orchestra Binding: in a slipcase Pages / Format: 1186 S. - 32,2 x 25,0 cm

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

The study score of Malcolm Arnold's 1955 concert masterpiece in a new engraving and edition. / Orchestre

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

Beethoven, Ludwig vanLeonore Overture for Orchestra no. 3- The most popular of the ?Leonore? overtures- Based on the G. Henle Complete Edition of the ?Works of Ludwig van Beethoven?- Orchestral parts in an enlarged format (25.5 cm x 32.5 cm)Of the four overtures that Beethoven composed for his only opera, the ?Leonore Overture? No. 3 is the most popular. The first reviewer found fault with it for its ?incessant dissonances and overblown fluttering of the violins? (Wiener Theater-Zeitung, 1806), but it soon became famous as ?one of the most imposing, difficult, yet richest and strangest of compositions? (Allgemeine Musikalische Zeitung, 1810). This version of the ?Leonore Overture? quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.The editor has devoted herself to the complex genesis of the various ?Leonore Overture? versions, in particular the question whether the trumpet call in measures 272?277 and 294?299 should be played by one or two instruments. The edition is based on the Complete Edition of the ?Works of Ludwig van Beethoven? issued by the G. Henle publishing company. / Grand format / Barenreiter

Bach, Johann Sebastian St. Matthew Passion BWV 244 - Tried-and-tested content of the complete edition now in a soft-cover score - Extensive Foreword in German and now also in English How practical: This choral masterpiece is now appearing in a handy and affordable soft-cover score to complement the substantial linen-bound complete edition volume. The tried-and-tested musical text remains unchanged, whilst the Foreword has been revised and supplemented by an English translation.

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Orchestre

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the 'Paris? symphonies (Hob. I:82-87) and their 'London? counterparts (Hob. I: 93-104) - the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two 'lire organizzate? and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musical quarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.This edition continues the collaboration with the Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies. It is based on the Henle Complete Edition of the 'Works of Joseph Haydn?. The complete performance material for several Sturm und Drang symphonies and all of the London and Paris symphonies is now available from Bärenreiter. o Based on the Henle Complete Edition of the 'Works of Joseph Haydn?o Orchestral parts in a large format (25.5 x 32.5 cm) / Orchestre

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violon I

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Alto

Par MOZART WOLFGANG AMADEUS. Ce score étude de 'La clemenza di Tito' est basé sur l'édition à la fois Giegling Franz de 1970, qui a été publié dans le cadre du 'New Edition Mozart', et le commentaire critique à partir de 1994. Les manuscrits autographes de numéros 2, 11 et 12 de l'opéra de Mozart ont été considérés comme perdus après la fin de la Seconde Guerre mondiale. En 1979/80 de ces pièces manuscrites ont été reportés et sont conservés dans le Jagiellonska Biblioteka, Cracovie. L'évaluation de cette source a été publié dans le commentaire critique de 1994 et a été inclus dans la deuxième impression du volume respectif de New Mozart Edition (1997). Le score étude Bärenreiter est basé sur cette nouvelle édition de 'La Clemenza di Tito', tel que publié dans le 'New Edition Mozart'. - Basé sur le Urtext de la 'Nouvelle édition Mozart', reflétant l'état actuel des bourses musicologique - Avec une préface informative/ Répertoire / Orchestre

Par HAYDN FRANZ JOSEF. Along with Symphonies Nos. 80 and 81, Haydn's Symphony in F major Hob. I:79 belongs to a group of works that he composed in late 1784. He wrote them for his employer Prince Nikolaus Esterházy who wished to be entertained with new music. The symphonies were tailored for the twenty-five to thirty musicians who were in the prince's court orchestra. Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the 'Works of Joseph Haydn”. Bärenreiter has already published the complete performance material for several 'Sturm und Drang” symphonies and all the Paris and London symphonies. / Date parution : 2019-06-20/ Répertoire / Orchestre