Inspired by nature

Record review: Adalberto Maria Riva at the Braschoss-Liszt piano in the Château de Gruyères.

French garden at the Château de Gruyères. Foto: SuperManu, wikimedia commons

In its rich museum collection, the Château de Gruyères houses a piano dating from 1835, decorated with beautiful marquetry. Its maker, Braschoss, a German living in Geneva, chose to build it with a French action, no doubt under the influence of Liszt, who lived in the town of Calvin between 1835 and 1839. To showcase this instrument with its magnificent sound, both gentle and powerful, the museum's curator, Raoul Blanchard, called on the excellent Italian-born pianist Adalberto Maria Riva. He chose works inspired by nature, as well as two sets of variations, from the still largely unknown corpus of 19th-century Swiss piano pieces. These genre pieces are typical of salon music as it might have been played by the Bovy family from Geneva, who acquired the Château de Gruyères in 1849, and one of whose members is present on the disc: Chopin pupil Charles Bovy-Lysberg, whose work is mainly made up of some 150 delightful salon pieces for piano.

At the time, Swiss musical life rarely went beyond a small circle of amateurs, and many of the composers established in Switzerland were of foreign origin, as witness the Hungarian Vincent Adler and the Germans Adolf Ruthardt and Paul Hahnemann, the first two established in Geneva and the latter in Yverdon and Lausanne. By contrast, Schwyz-born Joseph Joachim Raff spent his entire career in Germany. Among the most interesting works presented on this CD - in addition to Melodic flowers of the Alpsfrom theAlbum d'un voyageur that Liszt composed in Switzerland - are four pieces from an early collection by Hans Huber, Nachtgesängeinspired by excerpts from Tennyson's poems, and variations written by two female composers with similar destinies: Caroline Boissier-Butini from Geneva and Fanny Hünerwadel from Aargau, both from wealthy families whose musical activity was not hindered by their families - a rare occurrence in the bourgeois society of the time.

All these works are served up by colorful interpretations by a pianist passionate about rediscovering forgotten composers. Enhanced by superb illustrations (including interior decorations of the château), the booklet contains, in addition to an introduction by the pianist himself, interesting contributions by musicologists Jacques Tchamkerten and, on the subject of the two composers on the disc, Irène Minder-Jeanneret, all translated into German and English. With its visual as well as musical beauty, this CD makes an ideal gift for the festive season, but also, at any time, a musical present that highlights a neglected and enjoyable part of Swiss music.

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Nachtgesänge 1
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Nachtgesänge 3
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Claquer la porte de l’enfer

Record review: "Dumbarton Oaks, Danses concertantes, Historie du Soldat" - Stravinsky's works for chamber orchestra in a humorous interpretation.

"Nicht irgendein Orchester" (not just any orchestra) is the title of the Zurich Chamber Orchestra's (ZKO) subscription concert program, as Sir Roger Norrington, the ZKO's current principal conductor, contemplates it in a photo in the booklet. His expression expresses the joy he takes in conducting this fine phalanx.

Under the baton of Sir Roger, always inventive and amusing, these three masterpieces exude nothing but happiness, which has nothing to do with the tedium of certain coldly mechanical interpretations. The composer's own recordings, made in California in the 1960s, are systematically faster than the tempi indicated in Chester Music's very serious score, published in 1987. After listening to this CD, Stravinsky's interpretations seem formal and distant!

These recordings, made in Zurich, offer a spacious stereophonic scene and natural clarity, making it easier for the music lover to approach the character and playing of each instrument. If the rapid movements of these Danses concertantes (1940-42) are executed more calmly than usual, dancing with an endearing nonchalance, without exaggerated tension or forced sound. On the other hand, the slow movements are well rounded: they captivate with great charm and lyricism. This concert music was recovered in 1943 for ballets, and the emphasis on its theatrical dimension in this performance is fully justified. This quality proves equally beneficial in what Stravinsky called "a little concerto in the style of the Brandenburg Concertos "or Dumbarton Oaks (1938), where Norrington humorously underlines the work's neo-classical component. Irresistible!

We compared nineteen A soldier's story (RMS 4/2008 and 5/2008) in full versions, but it is above all the Suite (without words), which made the work world-famous as early as 1920. Norrington's interpretation perfectly evokes the drama of the missing texts, even if we find the quarter notes of the solo violin a little short and the instrument too close to the microphone. What's more, according to the Chester edition, when the soldier at the end of The Storyis forced to go to hell with the devil to the sound of the Triumphal marchStravinsky wanted the percussionist to remain piano until their disappearance. But, in California, the composer doesn't obey himself and concludes with a mezzo-forte.

As for Sir Roger, he slams the door of hell with an unabashed fortissimo subito ! The booklet's imaginative graphics and photographs are an invitation to own this CD... subito !

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Danses Concertantes, Marche-Introduction
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Dumbarton Oaks, Tempo giusto.
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Une nouvelle salle de concert au cœur de Lausanne

In June 2014, Lausanne will have a new concert hall with modular facilities: the BCV Concert Hall. Located in the heart of the Flon district, it will be integrated into the new HEMU premises.

The hall will accommodate not only a wide range of concerts, but also conferences, film screenings and recordings.

For Banque Cantonale Vaudoise (BCV), being associated with this ambitious project is a continuation of its long-standing commitment to patronage. It also enables us to combine our support for culture with a commitment to the future, embodied in tertiary education. For the HEMU, the BCV Concert Hall is an opportunity to consolidate its roots in the heart of the city. Thanks to its innovative infrastructure, it will be possible to bring together all types of music, from classical to contemporary, including jazz and contemporary music.

The space will accommodate some 300 spectators. Fully modular, it can be transformed into a rehearsal hall for a symphony orchestra of up to 100 musicians. Thanks to techniques based on the embedding of metal boxes in the raw concrete of the ceiling, a retractable curtain at the back of the stage and removable walls, its acoustics will enable it to adapt to a very wide spectrum of music and to host professional recordings in optimal conditions.

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