Program

Thursday, April 1st – 20h : La Lanterne Magique, Beaune
Piano Recital

Jean-Efflam Bavouzet, piano

 

Ludwig van Beethoven – Piano Sonata No. 26 in E-flat major, Op. 81a « Les Adieux »

  1. Adagio – Allegro
  2. Andante espressivo
  3. Vivacissimamente

 

Ludwig van Beethoven – Sonate pour piano n° 27 en Mi mineur, Op. 90

  1. Allegro
  2. Moderate tempo, very singing in style (Beethoven does not provide a standard Italian indication; this is the usual French phrasing for concert programs)

 

Ludwig van Beethoven – Piano Sonata No. 28 in A major, Op. 101

  1. Allegretto, ma non troppo
  2. Vivace alla marcia
  3. Adagio, ma non troppo, con affetto
  4. Allegro

 

— intermission —

 

Ludwig van Beethoven – Piano Sonata No. 29 in B-flat major, Op. 106 « Hammerklavier »

  1. Allegro
  2. Scherzo : Assai vivace
  3. Adagio sostenuto
  4. Largo – Allegro risoluto

Thursday, April 23 – 20h : La Lanterne Magique, Beaune
Piano Trio Evening

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Trio con brio Copenhagen

 

Bent Sørensen (b. 1958)

Masquerade for piano trio (2023) – French premiere
Commissioned by Pierre Boulez Saal, Music in PyeongChang, Aulaserierne, and Hindsgavl Festival

  1. Prelude
  2. Barcarolle
  3. Waltz
  4. Chorale
  5. Rhumba

 

Ludwig van Beethoven (1770–1827)

Piano Trio in E-flat major, Op. 1 No. 1

  1. Allegro
  2. Adagio cantabile
  3. Scherzo. Allegro assai – Trio
  4. Finale. Presto

 

 Intermission

 

 Piotr Ilitch Tchaïkovski (1840–1893)

Piano Trio in A minor, Op. 50 « À la mémoire d’un grand artiste »

  1. Pezzo elegiaco. Moderato assai – Allegro giusto
  2. Tema con variazioni. Andante con moto –
    Variazione finale e coda. Allegro risoluto e con fuoco – Andante con moto

Friday, April 24 – 20h : La Lanterne Magique, Beaune
Beethoven & Schubert

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Cuarteto Casals
Sung-Won Yang, cello

 

Ludwig van Beethoven (1770–1827)

String Quartet No. 13 in B-flat major, Op. 130

  1. Adagio, ma non troppo – Allegro
  2. Presto
  3. Andante con moto, ma non troppo
  4. Alla danza tedesca. Allegro assai
  5. Cavatina. Adagio molto espressivo

 

Ludwig van Beethoven (1770–1827)

Grosse Fugue in B-flat major, Op. 133

 

Intermission

 

Franz Schubert (1797–1828)

String Quintet in C major, D. 956

  1. Allegro ma non troppo
  2. Adagio
  3. Scherzo. Presto – Trio. Andante sostenuto
  4. Allegretto

Saturday, April 25 – 20h : La Lanterne Magique, Beaune
Flute & Harp

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Isabelle Moretti, harp

Yaeram Park, flute

 

Claude Debussy (1862–1918)

Suite bergamasque (arr. Juliette Hurel & Isabelle Moretti, for flute and harp)

  1. Prélude
  2. Menuet
  3. Clair de lune
  4. Passepied

 

Clémence de Grandval (1828–1907)

Valse mélancolique (flute and harp)

 

Gabriel Fauré (1845–1924)

Sicilienne, Op. 78 (flute and harp)

 

Jean Cras (1879–1932)

Suite en duo (flute and harp)

  1. Préambule. Modéré
  2. Modéré
  3. Assez lent
  4. Danse à onze temps. Très animé

 

Intermission

 

Camille Saint-Saëns (1835–1921)

Fantaisie in A major, Op. 124 (flute and harp)

 

Georges Bizet (1838–1875)

Entr’acte from Carmen (flute and harp)

 

Claude Debussy (1862–1918)

Deux Arabesques (solo harp)

  1. Première arabesque
  2. Deuxième arabesque

 

Gabriel Fauré (1845–1924)

Clair de lune (flute and harp)

 

Astor Piazzolla (1921–1992)

Histoire du Tango (flute and harp)

  1. Bordel 1900
  2. Café 1930
  3. Nightclub 1960

Sunday 26 Avril – 16h30 : Salle St Nicolas, Hospices de Beaune
Bach, Montalbetti & Brahms

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Enrico Pace, piano

Sung-Won Yang, cello

 

Johann Sebastian Bach (1685–1750)

Sonata for viola da gamba and harpsichord in G major, BWV 1027

  1. Adagio
  2. Allegro ma non tanto
  3. Andante
  4. Allegro moderato

 

Johannes Brahms (1833–1897)

Sonata for cello and piano No. 2 in F major, Op. 99

  1. Allegro vivace
  2. Adagio affettuoso
  3. Allegro passionato
  4. Allegro molto

 

Entracte

 

Eric Montalbetti (né en 1968)

Trois impromptus – world premiere

 

Johannes Brahms (1833–1897)

Sonata for cello and piano No. 1 in E minor, Op. 38

  1. Allegro non troppo
  2. Allegretto quasi Menuetto
  3. Allegro

Thursday 3 April – 20h : Salle St Nicolas, Hospices de Beaune
Ryo Terakado, EunShik Kim, Kaori Uemura, François Guerrier

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Ryo Terakado, baroque Violin
EunShik Kim, baroque Violin
Kaori Uemura, Viol
François Guerrier, Harpsichord

 

François Couperin (1668-1733)

L’Impériale, sonade (Les Nations, 1726)
Gravement – Vivement – Gravement et marqué – Légèrement – Rondement – Vivement

 

Louis Couperin (1626-1661)

Pièces en ut : Prélude – Sarabande – Passacaille

 

François Couperin

Le Parnasse, ou l’Apothéose de Corelli, grande sonade en trio (Les Goûts réunis, 1724)

 

Carl Philipp Emanuel Bach (1714-1788)

Sonate en do mineur “Sanguineus und Melancholicus”, Wq 161 (1749)
Allegretto/Presto – Adagio – Allegro

 

Johann Sebastian Bach (1685-1750)

Sonate en Sol Majeur BWV 530 (arr. de la 6ème sonate pour orgue)
Vivace – Lento – Allegro

Friday, April 4th – 20h : La Lanterne Magique, Beaune
Quatuor Hermès with Eric and Hélène Levionnois

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Quatuor Hermès
Eric Levionnois, cello
Hélène Levionnois, viola

 

Fanny Mendelssohn

Quatuor à cordes en Mi bémol

 

Felix Mendelssohn

Quatuor à cordes Op. 12, en Mi bémol majeur

 

Johannes Brahms

Sextuor à cordes No. 2 en Sol Majeur Op. 36

Saturday, April 5th – 20h : La Lanterne Magique, Beaune
Quatuor Hermès, Inmo Yang, Charles Richard-Hamelin, Sung-Won Yang

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Inmo Yang, violin
Charles Richard-Hamelin, piano
Sung-Won Yang, cello
Quatuor Hermès

 

Clara Schumann

Trio avec Piano, en sol mineur Op. 17  (avec Sung-Won Yang)

 

Robert Schumann

Sonate pour violon et piano en ré mineur Op. 121

 

Chausson

Concert pour Violon, Piano et Quatuor à cordes Op. 21 (avec le Quatuor Hermès)

Sunday, April 6th – 16h30 : La Lanterne Magique, Beaune
Trio Owon

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Trio Owon
Olivier Charlier, violin
Sung-Won Yang, cello
Emmanuel Strosser, piano

 

Felix Mendelssohn

  • Variations concertantes pour violoncelle et piano en Ré Majeur Op. 17
  • trio avec piano, violon et violoncelle en ré mineur Op. 49

Fanny Mendelssohn

  • Adagio pour violon et piano

Felix Mendelssohn

  • trio avec piano, violon et violoncelle en do mineur Op. 66

Thursday, April 4th – 20h : La lanterne magique, Beaune
Liza Ferschtman, Enrico Pace, Sung-Won Yang, Quatuor Ardeo

Schubert, Sonate pour violon et piano en La Majeur D. 574 

Liza Ferschtman, violin
Enrico Pace, piano

Franz Schubert made some momentous decisions prior to composing his fourth and final violin sonata in August 1817. He decided not to return to teaching at his father’s school and he left the family home to move in with his friend, poet and future librettist, Franz von Schober. Originally entitled sonata for piano and violin – the order of instruments is telling – D. 574 represents a grander ambition and requires greater virtuosity than his previous ‘sonatinas’, as was reflected in Diabelli’s decision to posthumously publish it as ‘Grand Duo’ for violin and piano.

The Sonata for violin and piano in A major D. 574, begins in conventional fashion with a sonata-form Allegro moderato. However, Schubert replaces the expected minuet with a fiery Scherzo: presto which flies through far-flung harmonies, before sidling into a central Trio. The Andantino begins with a beguiling melody interrupted by dramatic outbursts. The finale, an Allegro vivace travels through three keys rather than the conventional two in its exposition; something that becomes a fingerprint of Schubert’s sonata forms. In 1825, Schubert adapted its second subject as a dance, his Cotillon in E flat major, D. 976.

 

Beethoven, Trio pour Piano, Violon, et Violoncelle en Ré Majeur Op. 70 No. 1 ‘Les Esprits’

Enrico Pace, piano
Liza Ferschtman, violin
Sung-Won Yang, cello

In 1808, Ludwig van Beethoven was considering writing an opera after Macbeth. Amid the abandoned sketches for that work are ideas for what became the slow movement of his Piano Trio, Op. 70 no. 1, completed the following year. Carl Czerny later made a connection between the Largo assai ed espressivo and another Shakespeare play, hearing in its tremolandi and chromaticisms an evocation of the scene where Hamlet meets his father’s ghost. Hence the nickname of a piano trio written during a summer spent at Countess Marie von Erdödy’s estate in Heiligenstadt.

The outer movements of Op. 70 no. 1 have a brighter outlook than the trio’s spectral centre. The unison opening of the Allegro vivace e con brio breaks off unexpectedly, the cello introducing a theme that, in an 1813 review, E.T.A. Hoffmann described the second theme as ‘expressing a genial serenity, a cheerful, confident awareness of its own strength and substance.’ The fluctuating moods of the final Presto rondo continue to explore unusual harmonies, continuing the playfully questioning of the first movement, before ending with an exuberant coda.

 

intermission

 

L. Janáček, 2ème Quatuor à Cordes “Lettre Intime”

Quatuor Ardeo

In 1923, the Bohemian Quartet asked Janáček to compose two works for them. The first, known as the ‘Kreutzer Sonata’ after Leo Tolstoy’s novella, was completed quite quickly and given its premiere on 17 October 1924. The second took longer and was eventually performed by the Moravian Quartet on 11 September 1928, weeks after Janáček’s death.

The composer had met Kamila Stösslová in 1917 and immediately became besotted. She was forty years his junior and married with children, but this did not stop the composer sending her more than 650 letters. Their first kiss, on 19 August 1927, apparently inspired the quartet, originally entitled ‘Love Letters’. While Janáček devised a programme for the piece it was not included in the published score and the title was changed to the less provocative Listy důvěrné  (‘Intimate Letters’). Of course this has not stopped critics and scholars speculating about how dialogues between the instruments of the quartet – their contrasting themes and harmonies – might reflect the different stages of their relationship: from first hope to final joy.

 

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