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... du silence au silence

Veronica Kuijken | Helena Macherel

... du silence au silence

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917291223
Catnr: CC 72912
Release date: 07 October 2022
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Label
Challenge Classics
UPC
0608917291223
Catalogue number
CC 72912
Release date
07 October 2022
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Veronica Kuijken: There was more than one surprise in store for me as I took a closer look at the chronology of the works Héléna and I have recorded here. For instance, the timeline I had spontaneously imagined for the years in which the works were written turned out not to correspond to the actual chronology at all, and the ages of the composers at the time they wrote them do not coincide with the youth or maturity they communicate. But these surprises actually make me rather happy, since they so beautifully illustrate the uniqueness of every person, quite apart from textbook music history!

Despite the ‘frozen’ aspect of a recording, we do very much hope that we have succeeded in bringing out the living, breathing quality of the music here. Compositions, we think, are a bit like children: having complete ‘power’ over them is impossible, since they have their own lives. Even composers can only send a work out into the world for it to live on independently – since every time we listen, we hear a different version, don’t we?
Op dit album brengen fluitiste Héléna Macherel en pianiste Veronica Kuijken een verfijnde verzameling Franse sonates voor fluit en piano uit de eerste helft van de 20e eeuw. Zij zijn de ideale gidsen op deze ongewone reis met onverwachte genoegens voor het oor en de geest van de luisteraar.

Van tevoren hadden Veronica Kuijken en Héléna Macherel een tijdlijn voor ogen, van Pierné's charmante Sonate Op. 3 uit 1900, via de vioolsonate getranscribeerd voor fluit van Ravel uit 1927 en Martins verontrustende Ballade uit 1939 zouden ze belanden in het jaar 1957 met Poulencs typisch ondeugende Sonate P 164. Maar wat bleek, de tijdlijn voor de jaren van herkomst van de uitgevoerde werken, zoals ze zich die hadden voorgesteld, klopte niet met de werkelijke chronologie. De leeftijd van de componisten op het moment dat ze hun stukken schreven komt niet overeen met de jeugd of volwassenheid die ze in hun muziek overbrengen. Maar juist dat illustreert mooi het unieke van ieder mens, los van de muziekgeschiedenis.

Maurice Ravel heeft zijn Sonate Posthume M. 12 waarmee de opname begint, hier gearrangeerd door Héléna Macherel, niet verfijnd en zelfs niet volledig voltooid. Het is ook nooit zijn bedoeling geweest om het werk te publiceren. Macherel en Kuijken vonden het uitvoeren van dit eigenzinnige werk van Ravel een voorrecht en een abosolute must. Hoewel het stuk oorspronkelijk voor viool is geschreven vonden de twee musici dat het werk zich ook goed leent voor een blaasinsrument.

Kuijken vond naast de verrassende tijdlijn ook andere, meer objectieve tegenstellingen. Sommige opnames die Francis Poulenc van zijn eigen werken maakte, zijn daar een goed voorbeeld van. Je zou verwachten dat hij zijn composities zou uitvoeren zoals hij ze opgeschreven had, maar hij wijkt qua tempo en dynamiek vaak aanzienlijk af van zijn eigen partituren. Zoiets roept de vraag op ‘Wat staat er in een partituur? ‘ Macherel en Kuijken vonden Poulencs Sonate FP 164 zich goed lenen voor een blaasinstrument. Eerst de zachte melancholie en de zoete glimlach van een achtenvijftigjarige man, gevolgd door mooie eenvoud, en dan het speelse slot. Poulenc schreef het stuk voor de fluitist Jean-Pierre Rampal, samen speelden ze de première op 17 en 18 juni 1957 tijdens het Festival van Straatsburg.

De charmante Sonate Op. 36 van Gabriel Pierné trakteert ons op een bijna verslavende dans met de kleuren van een unieke harmonische wereld, onweerstaanbaar. Een vredige barcarolle, een gondellied, dat gaat van een rustig begin en eenvoudig tweede deel, naar de finale met een combinatie van nieuwe en eerder gebruikte thema’s versmolten tot een rijk, uitgebreid geheel.

De opname eindigt met Frank Martins Ballade, een zeer aards werk vol spanning en onrust, net als het jaar 1939. Dit stuk belichaamt een compleet andere harmonische en structurele wereld, en bevat een ander gebruik van de instrumenten en een nieuwe virtuositeit. In een notendop zou je kunnen zeggen dat het stuk bestaat uit twee enorme, langgerekte crescendo's, waarvan de tweede explodeert in een enorm krachtige doodsteek, schreeuw of kreet van vrijheid. Het lijdt geen twijfel dat het laatste woord is gesproken.
Veronica Kuijken: Als ich mir die Chronologie der Werke, die Héléna und ich hier aufgezeichnet haben, genauer ansah, gab es mehr als eine Überraschung für mich. So stellte sich zum Beispiel heraus, dass die Zeitachse, die ich mir spontan für die Entstehungsjahre der Werke vorgestellt hatte, überhaupt nicht der tatsächlichen Chronologie entspricht, und das Alter der Komponisten zum Zeitpunkt der Entstehung der Werke stimmt nicht mit der Jugend oder Reife überein, die sie vermitteln. Aber diese Überraschungen machen mich eigentlich eher glücklich, weil sie die Einzigartigkeit jedes Menschen so schön illustrieren, ganz abgesehen von der Musikgeschichte aus dem Lehrbuch!

Trotz des 'eingefrorenen' Aspekts einer Aufnahme hoffen wir sehr, dass es uns gelungen ist, die lebendige, atmende Qualität der Musik hier zum Ausdruck zu bringen. Kompositionen, so denken wir, sind ein bisschen wie Kinder: Es ist unmöglich, vollständige "Macht" über sie zu haben, denn sie haben ihr eigenes Leben. Auch Komponisten können ein Werk nur in die Welt hinausschicken, damit es eigenständig weiterlebt - denn jedes Mal, wenn wir es hören, hören wir eine andere Version, nicht wahr?

Artist(s)

Veronica Kuijken (piano)

Veronica Kuijken (1978) started to play piano at age six and violin at age eight. She went to the Brussels conservatory at the age of 16 in the piano class of Daniel Blumenthal. There she took her master's degree in piano cum laude in June 1999. After two years of violin lessons, and privately tutoring for seven years she continued her studies in London and obtained a master's degree in violin in September 1998 (via the Central Examining Committee of the Flemish Community). She has been studying at the Musikhochschule in Winterthur (Switzerland) since October 1999. In 1997 Veronica was selected as a violinist in the European Gustav Mahler Youth Orchestra, conducted by Iván Fischer, Semyon Bychkov and Pierre Boulez....
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Veronica Kuijken (1978) started to play piano at age six and violin at age eight. She went to the Brussels conservatory at the age of 16 in the piano class of Daniel Blumenthal. There she took her master's degree in piano cum laude in June 1999. After two years of violin lessons, and privately tutoring for seven years she continued her studies in London and obtained a master's degree in violin in September 1998 (via the Central Examining Committee of the Flemish Community). She has been studying at the Musikhochschule in Winterthur (Switzerland) since October 1999. In 1997 Veronica was selected as a violinist in the European Gustav Mahler Youth Orchestra, conducted by Iván Fischer, Semyon Bychkov and Pierre Boulez. Alongside her studies, Veronica Kuijken and her sister Marie (soprano and pianist) have performed since 1993 as the 'I Pulcini' duo. Veronica has regularly played with the Kammerorchester Basel since 2000, and holds a part-time position as piano accompanist with the Conservatory of Music in Lausanne and as harpsichord accompanist in the Geneva Conservatory.

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Helena Macherel (flute)

Swiss flutist Helena Macherel is a versatile musician who performs both as a soloist, as a chamber and orchestra musician in Europe and in the United States. Among her notable projects, Helena Macherel played as a soloist with Zürcher Kammerorchester in Tonhalle Zürich, Orchestre de Chambre de Lausanne, Budapest Radio Symphony Orchestra, Orchestre Philharmonique de Nice, and shared the stage with François Benda, Cédric Pescia, Joel Sachs, Sine Nomine Quartet, and Terpsycordes Quartet. She is also a member of the Basilea Wind Quintet, based in Switzerland. In 2021, she recorded a new album with harpist Tjasha Gafner, « Dances for Flute and Harp », and plays the baroque flute with La Fontana Cantabile Ensemble since 2018. Helena Macherel regularly plays as solo...
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Swiss flutist Helena Macherel is a versatile musician who performs both as a soloist, as a chamber and orchestra musician in Europe and in the United States.
Among her notable projects, Helena Macherel played as a soloist with Zürcher Kammerorchester in Tonhalle Zürich, Orchestre de Chambre de Lausanne, Budapest Radio Symphony Orchestra, Orchestre Philharmonique de Nice, and shared the stage with François Benda, Cédric Pescia, Joel Sachs, Sine Nomine Quartet, and Terpsycordes Quartet. She is also a member of the Basilea Wind Quintet, based in Switzerland. In 2021, she recorded a new album with harpist Tjasha Gafner, « Dances for Flute and Harp », and plays the baroque flute with La Fontana Cantabile Ensemble since 2018.
Helena Macherel regularly plays as solo flute with the Sinfonieorchester Basel, and is a member of Verbier Festival Orchestra since 2021. In 2017 she was also engaged for a two year internship position with the Musikkollegium Winterthur Orchestra. She often performs with Lausanne Chamber Orchestra and has taken part in projects with The Juilliard Orchestra in Carnegie Hall. She played under the baton of David Robertson, Klaus Mäkelä, Jonathan Stockhammer, Charles Dutoit, and Michael Sanderling.
At the age of nineteen she won the Paul Streit Prize of the Concours de Genève. Over the years she was awarded 1st Prize of International Anton Rubinstein Competition Berlin, 3rd Prize of Maxence Larrieu International Competition (France), and 1st Prize of Jeunesses Musical International Competition Belgrade. She has also been supported by Leenaards Foundation, Friedl-Wald Scholarship and Pour-Cent Culturel Migros.
In 2020 Helena Macherel graduated from The Juilliard School in New York with Robert Langevin and has later received mentorship with Nolwenn Bargin at the Landeskonservatorium Feldkirch. At the age of fourteen she entered the Haute Ecole de Musique de Lausanne (HEMU) in the class of José-Daniel Castellon, and later studied with Silvia Careddu at the Hanns Eisler Hochschule für Musik Berlin.
In addition to her flute work, Helena Macherel has a passion for composition. She writes instrumental concertos and develops her style and expression through orchestral and chamber music works. She took composition lessons with William Blank at Haute École de Musique de Lausanne (HEMU).

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Composer(s)

Maurice Ravel

Joseph Maurice Ravel was a French composer who is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the Conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of...
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Joseph Maurice Ravel was a French composer who is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.
Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the Conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of development. He made some orchestral arrangements of other composers' music, of which his 1922 version of Mussorgsky's Pictures at an Exhibition is the best known.
As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas, and eight song cycles; he wrote no symphonies and only one religious work. Many of his works exist in two versions: a first, piano score and a later orchestration. Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and his complex orchestral works such as Daphnis et Chloé (1912) require skilful balance in performance.

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Gabriel Pierné

Currently Gabriel Pierné is primarily known as a conductor. From 1910 till 1933 he was the principal conductor of the concert series Concerts Colonne. He also led the premiere of Stravinsky's ballet The Firebird, performed by the Ballets Russes, for whom he also composed three succesful ballets. Most of Pierné's compositions are forgotten today. Yet he was he striking figure of the French organ school, who succeeded César Franck as organist at the Sainte-Clotilde Basilica in Paris in 1890, where he displayed his talent on the organ of the influential builder Aristide Cavaillé-Coll. Besides a modest number of organ works, his oeuvre consists of operas, ballets, oratorios, orchestral works and chamber music. All of his works are marked by the influences of his teachers Franck and Massenet and...
more
Currently Gabriel Pierné is primarily known as a conductor. From 1910 till 1933 he was the principal conductor of the concert series Concerts Colonne. He also led the premiere of Stravinsky's ballet The Firebird, performed by the Ballets Russes, for whom he also composed three succesful ballets.
Most of Pierné's compositions are forgotten today. Yet he was he striking figure of the French organ school, who succeeded César Franck as organist at the Sainte-Clotilde Basilica in Paris in 1890, where he displayed his talent on the organ of the influential builder Aristide Cavaillé-Coll.
Besides a modest number of organ works, his oeuvre consists of operas, ballets, oratorios, orchestral works and chamber music. All of his works are marked by the influences of his teachers Franck and Massenet and a clear technique. His most famous works are the oratorio La Croisade des Enfants, Introduction et variations sur une ronde populaire for saxophone quartet and the Marche des petits soldats de plomb for piano.

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Francis Poulenc

Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was 'L'art pour l'art': they composed music for the sake of...
more
Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was "L'art pour l'art": they composed music for the sake of music, without any 'meaning' or extramusical intents. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works.

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