PARTITIONS GRATUITES : VIOLONCELLE
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SKU: BT.SLB-00595900

INSSTR inches. French.

A previously unreleased piece by Francis Poulenc, published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe, secretary of the Association des amis de Francis Poulenc [Association of the Friends ofFrancis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage], which had been premiered in 1937 with music by Darius Milhaud, was reprised on 1 April 1944 at the Thé tre de la Michodière; Francis Poulenc was asked to compose new stage music. Theentire unpublished score lay undiscovered until Bérengère de l’Épine, a librarian at the Bibliothèque Historique de la Ville de Paris, announced the existence of a manuscript in the Association de la Régie Thé trale collection.Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs, all written for a small instrumental ensemble including oboe, clarinet, cello and piano. However, at the end of the manuscript, the composer echoes the second song Lent [Slow] and creates another version for cello and piano; curiously, the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for cello and piano, that we have publishedhere, as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey, accompanied by Jean-François Heisser, in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP), during thesymposium for the fiftieth anniversary of Poulenc’s death.Given in a dramatic context, some elements allow us to get an idea of the character of the piece, which Benoît Seringe, Poulenc’s beneficiary, judiciously chose to name Souvenirs.The main character of Anouilh’s play, Gaston, is suffering from amnesia at the end of World War One. Several families try to claim him; they want him to be their missing relative. The Renaud family prove to be particularly stubborn, but Gaston doesnot recognize himself in the child and young man they depict: a ruthless and violent person. In Act 1 Scene 3, left alone for a moment, overwhelmed by the story of the “old Gaston” that is gradually coming to light, and outraged by the desire ofthose around him to appropriate him (to the detriment of the person he would like to be from now on), he whispers these words: “You all have proof, photographs that look like me, memories as clear as day… I’ve listened to you all and it’s slowlycausing a hybrid person to rise up in me; a person in which there is a piece of each of your sons and nothing of me.” Poulenc chose to place the second piece from his stage music score as these words are spoken.He borrowed part of the material, as he often did, from an earlier composition. In this particular case, the beginning is a recycled version of the “slow and melancholic” section from L’Histoire de Babar , composed between 1940 and 1945, andpremiered in 1946 (unless it is Babar that reuses the musical idea from Voyageur ).The eponymous elephant decides to leave in search of the great forest. He embraces the old lady, promises her he will return and reassures her that he will never forget her. Left alone, the old lady, feeling sad and pensive, wonders when she’ll seeher friend Babar again. The situation is similar to that in Voyageur sans bagage: solitude, sadness, a distressing and introspective time, fear of oblivion, the presence of memories…

Pi èce inédite de Francis Poulenc, publiée avec l’autorisation de la Bibliothèque historique de la ville de Paris et de Benoît Seringe, secrétaire de l’Association des Amis de Francis Poulenc.Le 1er avril 1944, Le Voyageur sans bagage d’Anouilh, qui avait été créé en 1937 avec de la musique de Darius Milhaud, est repris au Thé tre de la Michodière. Francis Poulenc a été sollicité afin d’écrire une nouvelle musique de scène. On ignoraittout de cette partition inédite, jusqu’au jour où Bérengère de l’Épine, conservateur la Bibliothèque historique de la ville de Paris, nous signala l’existence d’un manuscrit dans le fonds de l’Association de la Régie thé trale.Poulenc mit au point sa partition entre le 19 et le 21 mars 1944. Elle comprend neuf numéros, tous écrits pour un petit effectif instrumental réunissant un hautbois, une clarinette, un violoncelle et un piano.Cependant, la fin de son manuscrit, le compositeur reprend le no 2 Lent et en donne une seconde version, pour violoncelle et piano. Curieusement, la version originale de ce numéro n’est pas biffée dans le manuscrit.Poulenc semble nous inviter considérer comme un morceau distinct cette pièce pour violoncelle et piano dont nous proposons ici l’édition. Elle a été créée par Marc Coppey, accompagné de Jean-François Heisser, lors du concert donné durant lecolloque organisé pour le cinquantenaire du décès de Poulenc, le mercredi 23 janvier 2013, salle d’orgue du Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP).Quelques éléments sur le contexte dramatique permettront de se faire une idée du caractère du morceau, que Benoît Seringe, ayant droit Poulenc, a judicieusement choisi d’intituler Souvenirs.Le personnage principal de la pièce d’Anouilh, Gaston, a été retrouvé amnésique la fin de la Première Guerre Mondiale. Plusieurs familles le réclament. On veut voir en lui un parent disparu. Les Renaud se montrent particulièrement tenaces ; maisGaston ne parvient se reconnaître dans l’enfant et le jeune homme dont on lui trace le portrait : un être violent et sans scrupule. Au tableau 3 de l’acte I, resté seul un moment, écrasé par l’histoire de cet autre lui-même qu’il découvre peu peu, indigné par le désir des personnes qui l’entourent de le ramener elles au détriment de celui qu’il voudrait être désormais, il se murmure ces paroles : « Vous avez tous des preuves, des photographies ressemblantes, des souvenirs précis commedes crimes… je vous écoute tous et je sens surgir peu peu derrière moi un être hybride où il y a un peu de chacun de vos fils et rien de moi »…C’est sur ces mots que Poulenc a choisi de placer le no 2 de sa partition de musique de scène.Comme il le fait souvent, il emprunte une composition antérieure une part de son matériau. Dans ce cas précis, il réutilise pour le début du morceau la section « Lent et mélancolique » de l’Histoire de Babar, composée entre 1940 et 1945, créée en1946 ( moins que ce ne soit Babar qui réutilise l’idée musicale du Voyageur). Le héros-éléphant s’est décidé partir pour retrouver la grande forêt. Il a embrassé la vieille dame, lui a promis de revenir, l’a rassurée : jamais il ne l’oubliera.Rest� �e seule, la vieille dame, triste et pensive, se demande quand elle reverra son ami Babar. La situation est similaire celle du Voyageur sans bagage : solitude, tristesse, instantde trouble et de retour sur soi, crainte de l’oubli, présence des souvenirs….

SKU: BR.KM-266

The Breitkopf Originals serie s opens up a fascinating view into the Breitkopf & Hartel publishing-house archives. The focus is on its rarities and treasures, together with milestones in the history of interpretation for works of the. Classical; Romantic. Score. 224 pages. Breitkopf and Haertel #KM 266. Published by Breitkopf and Haertel (BR.KM-266).

ISBN 9790004504901. 10 x 12.5 inches.

The editor, Engelbert Rontgen, writes in his foreword:Following a commission by the gentlemen Breitkopf & Hartel in Leipzig to produce a complete edition of Beethoven's string quartets supplied with bowing marks and fingerings, I undertook this task on the basis of the critical complete edition of these quartets, published in 1862. First of all, it seemed necessary to change the original slurring in some places to suit the bowing technique, with regard to performing and expression.In the quartets from Beethoven's early period, the performing marks often lack the accuracy and completeness that is required for an exact interplay, whereas they are given in the quartets of his later period almost everywhere with the greatest detail and precision, . Furthermore, the before mentioned scores contain a number of mistakes, which in all likelihood may have crept into the manuscripts as writing mistakes.I have therefore endeavored to carefully add the missing performing marks, as well as to correct the incorrect notes, without, however, claiming to have done everything that is questionable.Breitkopf Originals invite you to take a fresh look at 19th-century reception history.The music is printed clearly and in a larger than usual size.(Rebekah Smith, AUSTA Stringendo)

The Breitkopf Originals series opens up a fascinating view into the Breitkopf & Hartel publishing-house archives. The focus is on its rarities and treasures, together with milestones in the history of interpretation for works of the Classical and Romantic repertoire, presented by the most prominent artists of their time.