STRAVINSKYISABELLE FAUSTDOMINIQUE HORWITZ

COPPOLA – ZAFRA – FRIEDRICH – VAN RIJEN – DE BOEVÉ – CURFSÉlégie - Duo ConcertantALEXANDER MELNIKOV

STRAVINSKYISABELLE FAUSTDOMINIQUE HORWITZ

COPPOLA – ZAFRA – FRIEDRICH – VAN RIJEN – DE BOEVÉ – CURFSÉlégie - Duo ConcertantALEXANDER MELNIKOV

STRAVINSKYISABELLE FAUSTDOMINIQUE HORWITZ

COPPOLA – ZAFRA – FRIEDRICH – VAN RIJEN – DE BOEVÉ – CURFSÉlégie - Duo ConcertantALEXANDER MELNIKOV

STRAVINSKYISABELLE FAUSTDOMINIQUE HORWITZ

COPPOLA – ZAFRA – FRIEDRICH – VAN RIJEN – DE BOEVÉ – CURFSÉlégie - Duo ConcertantALEXANDER MELNIKOV

The Soldier’s Tale

FRANZ LISZT

IGORSTRAVINSKY(1882-1971) 1 | Élégie forsoloviolin(1944) 5’15 ©SchottMusicGmbH&Co.

Duo concertant*forviolinandpiano(1932) 2 | I.Cantilène 2’56

3 | II.ÉglogueI 2’22

4 | III.ÉglogueII 3’22

5 | IV.Gigue 4’27

6 | V.Dithyrambe 3’23 ©Boosey&Hawkes

The Soldier’s Tale (Histoiredusoldat) toberead,playedanddanced,intwoparts WordsbyCHARLESFERDINANDRAMUZ(1918) EnglishversionbyMichaelFlandersandKittyBlack PartI 7 | MarchingSong 1’45

8 | Phew…Thisisn’tabadsortofspot 1’10

9 | MusictoScene1.Airsbyastream 2’33

10 | TheDevilappears 4’59

11 | MarchingSong(reprise) 1’36

12 | Hurray!Hereweare! 2’43

13 | MusictoScene2:Pastorale 2’57

14 | Ah,youdirtycheat!It’syou! 3’19

15 | MusictoScene3.Airsbyastream(reprise) 0’45

16 | Goodtotouch,goodtofeel 3’06

PartII 17 | MarchingSong(reprise) 1’40

18 | Nowhecomestoanotherland 2’21

19 | RoyalMarch 3’08

20 | Itwentoffjustaswethoughtitwould 3’00

21 | LittleConcert 2’54

22 | ThreeDances:1.Tango 2’26

23 | 2.Waltz 2’08

24 | 3.Ragtime 2’26

25 | DanceoftheDevil 1’15

26 | LittleChorale 0’41

27 | Devil’sSong 0’34

28 | GreatChorale 3’51

29 | Suppose,supposewewentthere 1’31

30 | Devil’sTriumphalMarch 2’14 ©Chester

IsabelleFaust,violin AlexanderMelnikov*,pianoSteinway DominiqueHorwitz,narrator(theNarrator,theSoldier,theDevil)

LorenzoCoppola,clarinets JavierZafra,bassoon ReinholdFriedrich,cornets JörgenvanRijen,trombone WiesdeBoevé,doublebass RaymondCurfs,percussion

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An unsparing lessonWhenIsabelleFausttoldmeaboutherprojecttorecordTheSoldier’sTalewithinstrumentsdatingfromtheperiodwhentheworkwaswritten,Iwasimmediatelyhooked.Notbecausefidelitytotheoriginalissoveryclosetomyheart,butbecauseIknewthatthemusicwouldsoundmoreabrasivethanweareusedtowhenitisplayedbymoderninstruments.Andsoitshould,becauseStravinskyreallyisamusicalradicalandissometimesimplacablewithusaslisteners.

The narrative leads us into a universe where anything is possible, where values canseeminglyberedefined–asiftherewerenotomorrowtoholdusaccountable.Theinsightthatemergesfromthisisassimpleasitismerciless:weshouldhaveknownbetter.Hereistheplotinanutshell.Withoutanyneeddoso,asoldiersellshissoultotheDevil.Whenherealiseshismistake,hefightswitheverymeansathisdisposaltogobackonthedeal.Thegamethatdevelopsfromthisis,musicallyandtheatrically,ascolourfulasasetofplayingcards.SometimestheDevilgainstheupperhand,sometimestheSoldier.Intheend,toournotverygreatsurprise,thehumanbeingloses.

Ouraimwastomakethisdesperatestruggleforhumanfreedomaslivelyaspossible,inmusicandspeech,andtherebytodofulljusticetothetheatricalgreatnessofthisscore.IthinktheSoldierwouldbeverypleasedwithourversion.

DOMINIQUEHORWITZTranslation:CharlesJohnston

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The Devil’s violinDuringthelastfewyearsbeforethestartoftheFirstWorldWar,Stravinskyandhisfamily,afterspendingthesummerinRussia,hadbeeninthehabitofresidinginSwitzerlandfortheautumnandwinter.Theoutbreakofhostilitiesforcedthem to settle there from July 1914 until 1920.Through the Swiss conductor Ernest Ansermet, whose acquaintanceStravinskyhadrecentlymade,hemettheVaudoiswriterCharlesFerdinandRamuz.Thetwomenfirstworkedin1915-16 on a ‘burlesque’ story, Renard, whose libretto, fashioned by Stravinsky from Afanasyev’s collection of folk tales,wasadaptedbyRamuz.Inearly1918,itwasonceagainAfanasyev’stalesthatinspiredStravinskyandRamuztowriteHistoire du soldat (TheSoldier’sTale),notablyone(no.154)thatrelatestheadventuresofadeserterfromthearmyandtheDevilwhotakeshissoulinexchangeforhisviolin,aneminentlyFaustiantheme.ThechoiceofsubjectwasnotunconnectedtothenewsfromRussia.AfterplacinghighhopesontheRussianRevolutionofFebruary1917,StravinskywasdeeplyaffectedbytheturnofeventsinOctoberwhichmarkedtheadventoftheBolsheviks.Deprivedofmaterialresources,hedidallhecouldtoremedythesituationandconceivedtheideaofatravellingproductionwithactors,dancers and a small ensemble of seven instruments, as it were a ‘theatre of poverty’, to quote Pierre Boulez’s aptdescription.RamuztransposedthesettingtotheVaudoisregion,‘betweenDengesandDenezy’,andlaterrelated:

Eachofushadsoughtonlytoremainwhathewasandtotakeadvantageofhischaracterwithoutimposingtoomanyconstraintsonit.Notbeingamanofthetheatre,IhadsuggestedtoStravinskythatIshouldwrite,ratherthanaplayintheliteralsense,a‘tale’,explainingtohimthattheatrecouldbeconceivedinamuchbroadersensethanwasusuallythecaseandlentitselfperfectly,forexample(andIstillthinkso),towhatonemightcallthenarrativestyle.OnStravinsky’sside,ithadbeenagreedthathewouldconceivehismusicinsuchawaythatitcouldbecompletelyindependentofthetextandwouldconstitutea‘suite’,whichwouldallowittobeperformedinconcert.

StravinskyandRamuzreceivedfinancialsupport fromtheSwissphilanthropistWernerReinhart tostagethework,whichwastobeperformedinLausanneon28September1918underthedirectionofErnestAnsermet;thisenabledthemtocommissioncostumesfromRenéAuberjonoisandbringinmusiciansfromGenevaandZurich.GeorgesPitoëffdevisedthechoreographyandperformeditwithhiswifeLudmilla,whiletheroleoftheNarratorwasassignedtoJeanVillard-Gilles.Afteraneclipseofseveralyears,Histoiredusoldatwasgivenagaininthespringof1924onthestageoftheThéâtredesChamps-Élysées,andsubsequentlyinGermany,andbegantoenjoyincreasingsuccess.

Thestorymaybesummarisedasfollows.ASoldier(Joseph)walkingtowardshisvillageisapproachedbytheDevildisguisedasanoldman;thelattermanagestobartertheSoldier’sviolinforamagicbookandtakeshimawayforthreedays.Infact,thesethreedayslastthreeyears;whenhereturnstohisvillage,nobodyrecognisesJoseph,whorealisesthathehasbeentricked.TheDeviltellshimhecanmakehisfortunewiththemagicbook.Whenhebecomesrich,hewantstobuybackhisviolinfromtheDevil,nowdisguisedasanoldwoman,butisnolongerabletoplayit;hetearsupthemagicbookinafury.Ruined,hegoestoavillagewheretheKing’sdaughterisillandwhoevercuresherwillbegrantedherhandinmarriage.HemeetstheDevildisguisedasavirtuosoviolinistandplayscardswithhim.Althoughhekeepslosing,hepliestheDevilwithdrinkuntilhelosesconsciousness,andthenrecoverstheviolin.HegoestoseethesickPrincessandcuresherbyplayingheraTango,WaltzandRagtime;theDevilappearsbuttheSoldieroverpowershim.Oncetheyaremarried,theSoldierdecidestovisithishomevillagewiththePrincessandfallsintotheDevil’sclutchesoncemore.TheNarratorandtwocharacters(theSoldierandtheDevil)sharethetext,therolesbeinginterchangeable,sothattheNarratorsometimesspeaksthewordsoftheDevilortheSoldier.AlthoughthetextisperformedrhythmicallyintheMarchingSongandTheDevil’sDance,itismoregenerallyspokenwiththecadencesofnormalspeech,withorwithoutmusic.

Thefirstmusicalsequencespunctuatethesuccessivescenes,butfromtheLittleConcert,whichprecedesthehealingofthePrincess,theyfollowoneanothermoreclosely.Theinstrumentalforces(violinanddoublebass,clarinetandbassoon, cornet and trombone, and percussion consisting of bass drum, field drum (tambour), two side drums,tambourine,cymbalsandtriangle)arehighlyunusual.AlthoughStravinskyclaimedmuchlatertohavebeeninfluencedby jazz, the instrumental scoring seems more reminiscent of the bands of klezmer musicians (violin, double bass,clarinet and percussion, sometimes with trumpet and/or trombone) that he heard in Russia when spending hissummersinUstilug,wheretherewasalargeJewishcommunity.HehadalsobeenfascinatedbyagroupofHungarianmusiciansperforminginacabaretinGenevawithAladárRáczatthecimbalom.HencewefindatraceofthisGypsysonority inthepredominantanddramaticrolethattheviolinplays inTheSoldier’sTale.Thetessituraemployed isconcentratedinthelowregister:beneathitssometimesalmostawkwardsurfaceimitatinga‘squeakyfiddle’,thepartis fearsomelydifficultwith itsmanydoublestops,bariolagesandopen-stringcrossings.Thewidecompassof theclarinet,aninstrumentofwhichStravinskywasespeciallyfond,helpstoenrichandreinforcethemediumregisteroftheensemble.

Fromthisuniquegroupinwhichtheinstruments‘dialoguewitheachother inthemostunexpectedway’,asAndréSchaeffnerputit,Stravinskydrawsoneverystyle:afolkcharacterwiththeMarchingSong,intowhichheintroducesoffbeataccents;thefashionabledancesoftheperiod(tango,waltzandragtime)thatthePrincessperforms,orthepasodoble,whichhehaddiscoveredinJune1916duringhistriptoSpainwithDiaghilev’sBalletsRusses,inTheRoyalMarch; the ‘learned style’ in The Great Chorale and The Little Chorale; a style close to the works of Bartók in TheLittleConcert.OnlythePastoraleisdeeplyStravinskianinessence:inthissectionwithoutpercussion,hesucceedsincreatinganatmosphereofpurepoetryanddream.Nevertheless,allStravinsky’sborrowingsherearefarfrombeingsimplepastiches.Forexample,hemetamorphosestheTangointoapieceforviolinaccompaniedbypercussionandthenclarinet,graduallydistortingthehighlycharacteristicrhythmofthedance.HeusesasimilardeviceinRagtime:thisstartsasagenrepieceandturnsintosomethingthathasnothingincommonwiththedanceitself,beforetheinitialthemereturnsalmostinnocently.TheWaltz,whichisreminiscentoftheoneinPetrouchka,isalsoafineexampleofparody:theshrillsoundoftheviolin,thefalseoroffbeatbasslines.InTheGreatChorale,StravinskyusestraditionalLutheranmelodiesthathesprinkleswithstrangeharmonies.Finally,inthelastsequence,theTriumphalMarchoftheDevil,heironicallycombinesTheLittleConcert,thankstowhichtheSoldierregainedhisfreedom,andtheTango,withwhichhewonthePrincess’sheart.Thus,whilecreatingaworkwithadeceptivelypopularandparodicappearance,Stravinskysucceeds,throughthegeniusofhismusicallanguage,inproducingmusicofextraordinaryrhythmicandsonicrichness.Frequentlyplayedasaconcertsuite,itwastoinfluenceawholegenerationofmusicians,fromArnoldSchoenbergtoKurtWeillbywayofGeorgesAuricandFrancisPoulenc.

Itwasnotuntiltheearly1930sthatStravinskyconsideredcomposingaworkforviolinandpiano.AsheadmittedinChroniquesdemavie,‘thecombinedsoundofpianoandbowedstrings’hadlittleappealforhim.HisencounterwiththeviolinistSamuelDushkin(1891-1976)wastoinspirehimtowritefortheseforcesand‘toextendthedisseminationof [his] works by means of chamber concerts’. He claimed he had been stimulated to write the Duo concertant,composedbetween27December1931and15 July1932,byreadingabookonPetrarch(Payot:1932)byhis friendCharles-AlbertCingria.ButinaninterviewgivenduringatourwithDushkinin1933,heexplainedthathewasalsoinfluencedbyVirgil’sGeorgics.Whateverthetruthmaybe,hisintentionwastoconceive‘alyricalcomposition,aworkofmusicalversification’(Chroniquesdemavie).Hecontinues:‘ItwasmyenthusiasmforthebucolicpoetsofantiquityandthelearnedartistryoftheirtechniquethatdeterminedthespiritandformofmyDuoconcertant.’TheparadoxicallyentitledCantilène(forthereisnothingtrulysonglikeaboutthismovement)openswithaseriesofarpeggiosontheviolinbeforegivingwaytoadouble-stoppedtextureofpowerful intensity,whilethepiano,aftertremolopassagesreminiscentofcimbalomwriting,unfoldsaninexorablecontinuumofsemiquavers.ÉglogueIbeginswithabagpipe-likeepisodeontheopenstrings,withthepianoimitatingthedrone,andthenmovesintoastaccatosecondpartindoublestops,highlyrhythmicandfeaturingnumerouschangesofmetre,thestyleofwhichrecallstheRagtimefromHistoiredusoldat.InÉglogueII,whichiswritteninthecantabilestyleofAriaIIfromtheViolinConcertoandconstitutesthesuite’sslowmovement,theviolinandpianolinesdoubleeachotherandintertwineinsubtleandmovingfashion.Theimperturbable6/16rhythmoftheGigueistwiceinterrupted,firstbyapassagewhosestyleevokesthePasdedeuxofApollonmusagète,thenbyanotherinwhichathemeemergesonthepianoaccompaniedbytheviolin.TheDuoendswiththeDithyrambe,amovementofprofoundintensitywithornamentationatonceever-presentyetextremelysober.Havingassertedthat‘Lyricismcannotexistwithoutrules,anditisessentialthattheyshouldbestrictones’,StravinskysucceededbrilliantlyindemonstratinghisabilitytoconjuresuchlyricismfromtheveryrigourwithwhichheconceivedthesuccessivemovementsoftheDuoconcertant.

TheÉlégieforunaccompaniedviolaorviolinwascomposedin1944forGermainPrévost,inmemoryofAlphonseOnnou,founder of the Quatuor Pro Arte.1The piece, marked to be played with mute from beginning to end, begins with anintroductionpresentingathemewithaccompaniment,whichthenleadsintoatexturethatcreatestheillusionofatwo-partfugue.Attheclimax,thesubjectofthefugueisansweredbyitsinversionatabar’sdistance.Stravinskymakesitclearinthescorethatthefingeringsarenotintendedtofacilitateperformance,butonlytounderlinethecounterpoint.

DENISHERLINTranslation:CharlesJohnston

1 Onnouwasthequartet’sfirstleaderuntilhisdeathin1940,Prévostitsviolistthroughoutitsexistence(1913-47).(Translator’snote)

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Notes on the instrumentsIsabelle Faust – Violin*‘SleepingBeauty’violinbyAntonioStradivari,1704

Thegutstringsgivethesoundofthe‘SleepingBeauty’Stradivariaphysicalaspect:the‘matter’ isperceivedmorestrongly,andtheroughedgescanbebroughtoutmoreeffectively.ForStravinsky,thesestringshavetobeabletowithstandalot,andthereisnolackofextraverted,pantomime-likeplaying.Thepopular,travellingcircusaspectofthismusicbecomeswonderfullyaudiblewiththeseinstrumentsoftheperiod,sorichinthemostdiversecolours,becausetheygenuinelyspeak,sing,weep,dance.

Lorenzo Coppola – Clarinets*ClarinetsinBflat(1918)andA(1906)byBuffet,Paris

TheclarinetsIusedforthisrecordingareinstrumentsmadebytheprestigiousBuffetcompanyinParis:theBbclarinetdatesfromtheyear1918,theAclarinetfrom1906.Whatadiscoveryforme!TheyresembleineverydetailtheFrenchclarinetsthatareusedtodayinmostorchestrasaroundtheworld,buttheyconcealsecretsthatareonlyrevealedwhentheyareplayed.Theyareverylight,themouthpiecesaremoreclosedthanthoseoftoday,thereedslessstrong,whichresultsinasmaller,clearer,moresingingsound.Thearticulation,especiallyinthehighregister,ismorespontaneous:youfeelasifyoucan‘speak’withtheinstru-ment.InoticethisespeciallyinpieceslikethePastoraleortheAirsbytheStream,whentheclarinettriestocatchthebutterflies...

Javier Zafra – Bassoon*BassoonbyBuffet-Crampon,Paris,1910

Forthisrecording,itseemedquiteobvioustometochooseaBuffet-Cramponbassoon,madeinParisin1910.Thishistoricalmodel,whichhasalmostdisappearedfromconcerthallstoday,ismadeofrosewood,whichgivesitapar-ticularlyflexible,warmandvocalcharacter,rightuptotheverytopregister.ItsrangeandtimbrearereminiscentoftheFrenchtenorvoice.Stravinskymademagnificentuseofitsqualities,notablyatthestartofhisfamousballetLeSacreduprintempsin1913.HerelistenerscanappreciateitsdramaticcoloursinthePastoraleanditssaxophone-likevolubilityintheRagtime.

Reinhold Friedrich – Cornets à pistons*•CornetàpistonsinBflat/AbyF.Besson,Paris,1906

onloanfromAsukaTakeuchi,Tokyo•CornetàpistonsinC,unknownmaker,c.1915

onloanfromAlaindeRudder,Antwerp•MutesbyRatzek:www.ratzekmutes.de

HatinthePastorale:onloanfromIsabelleFaust•Mouthpiece:unknownmaker,c.1900

Inthe1950s,StravinskyinstructedAdolph(Bud)Herseth,thelegendaryprincipaltrumpetoftheChicagoSymphonyOrchestra,toplaythesolointhePastoralewithabowlerhatoverthebell.Unfortunately,neitherBudHersethnorhisstudent,myownteacherProfessorEdwardH.Tarr,arewithusnowadaysandtheycannolongerpassonthisstory.Onthepresentrecording,IhavetakenthisdetailtoheartforthePastoraleandhungahatoverthecornet.Thesoundofmyinstruments,althoughtheyareoverahundredyearsold,isquiteyouthfulandmodern;theBflatcornetisfullandroundedinsound,andtheanonymousCcornetverysoloisticandbrilliant,asyoucaneasilyhear.Themouthpieceishuge,surprisinglylargeforthetime.Iactuallyhadtogetusedtotheseinstrumentsfirst;after initial inhibitions,mainlybecauseofthesmell,wecameclosertogetherinthecourseoftheproduction,whichprobablymeansInowsmelllikethesehundred-year-oldbrassbuckets,asweplayerscolloquiallytermantiquebrassinstruments.

Wies de Boevé – Double bassDoublebassbyMartinusMathiasFichtl,Vienna,c.1748

I just love how gut strings allow me such a vast range of articulation possibilities: from extreme crispness in theSoldier´sMarchtoroundandwarmpizzicatitoprovideacosylayeronwhichthesoldiercancomfortablysittoplayhisAirsbythestream.

Jörgen van Rijen – TromboneTrombonebyA.Courtois,Paris,before1927

Itisaratherstrangestoryhowthiswonderfulinstrumentsomehowfounditswaytome.ForTheSoldier’sTaleyouneedatenortrombonewithanextrafourthvalveforsomelownotes.Forthattime,thiswasquiteanunusualinstrument,anditisn’teasytofindone.Afewmonthsbeforetherecording,Istartedtogetalittlenervous,becausenobodycouldtellmewheretolocatesuchaninstrument.Ifoundanalternativefromaround1935,butIwasprettysurethatwasnotexactlythekindofinstrumentStravinskywrotefor.OnedayagentlemancalledRobKlemanncontactedmeoutoftheblue.Hesaidhewantedtoshowmeatrombonethathehadinheritedfromhisolduncle,whohadplayedintheAmsterdamConcertgebouwOrchestra(myownorchestra!)alongtimeago,inthe1940sand1950s.HecametotheConcertgebouwtoshowittomeandwhenIopenedthecaseIsawexactlytheinstrumentIwaslookingfor!Itisasilvertenor/basstrombonebythefamousFrenchbrassinstrumentmakerAntoineCourtois,abrandthatstillexiststoday(myregular,moderntromboneisactuallyaCourtois!).Idon’tknowtheexactdate,butitmusthavebeenmadebetween1911and1927.ThereareengravingsinthebellwhichstatetheyearsinwhichAntoineCourtoiswonprizesininternationalcompetitionsforinstrumentmakers.Thelastyearthatisengravedthereis1911.Itisknownthatthenextcompetitionhewonwasin1927,soalltheinstrumentshemadeafterthatalsohave1927engravedinthebell.WhenItoldMrKlemannthatIwaslookingforatromboneofthisprecisetypefortherecordingofStravinsky’sSoldier’sTale,hewassosurprisedandinspiredthathedecidedtogivemethiswonderful instrument!SoInowplayontheinstrumentofoneofmypredecessorsintheRoyalConcertgebouwOrchestra,whichcametomebysurprise,butwithperfecttiming.

Raymond Curfs – Percussion

AllthedrumsplayedonthisrecordingweremadeinthelatenineteenthorearlytwentiethcenturyandwerespeciallyrestoredforthisprojectbyGeert-JanKoopsandPascalHoeke.Alltheheadsaremadeofnaturalcalfskinorgoatskin,andthesnaresofgoatgutorcalfgut.Thebassdrum,probablybySonorofWeißenfels,islikelyoveronehundredyearsold,asarealltheotherdrumsandtheirauthentictechnicalcomponents,suchasthesnaremechanism.

*Translation:CharlesJohnston

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ISABELLE FAUST – Selected discography

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HMM 992671

harmonia mundi musique s.a.s.MédiapôleSaint-Césaire,ImpassedeMourgues,13200ArlesP 2021

Recording:December2019,April&July2020,TeldexStudioBerlin,Berlin(Germany)Recordingproducer:MartinSauer,TeldexStudioBerlin

Recordingengineer:TobiasLehmannEditing:MartinSauer

Mastering:JulianSchwenkner©harmoniamundiforalltextsandtranslations

Illustration:Adevilplayingtheviolin,WoodcutafteradrawingbyBertall,Paris,BibliothèqueNationale,akg-imagesPhotoDominiqueHorwitz:©RalfBrinkhoff

PhotoIsabelleFaust:©UweArensDesign:atelierharmoniamundi