Escher chopin lutoslawski poulenc works for violoncello and piano played by quirine viersen thomas beijer
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The Cello Sonatas of Chopin and Poulenc
Michelangelo eloquently stated: ‘The sculpture is already within the block of marble
before I start. All I have to do is chisel away the excess stone.’
Certainly, this must have been intended as a half-joking remark, although Michel-
angelo was not exactly known for his sense of humor. Nevertheless, there is truth
in it. Every artist, composer, and writer knows the peculiar sensation that the work
they’re engaged in presents itself favourably. You grasp onto ‘something,’ you sense
what it should become - or rather, you ‘listen’ and ‘see’ what it wants to become -
and as if guided by the work itself, you shape it with a precision that surprises even
you. Put in the well-known manner: the work writes (or composes, or paints) itself.
And when it finally emerges, you can scarcely remember where you found it, what
you’ve actually done.
It can go this way. But it can also go very differently, and it often does. You sense
roughly what it should - or wants to - become, but there’s a dense mist surrounding
it, you can’t quite get it clear, you keep getting lost, you don’t understand it, your
intuition falters, you don’t know which pieces of marble are excess and which are
not. You try something, but it doesn’t fit. You try something else, and that doesn’t
work either. The worst part is that you can’t quite put your finger on what’s wrong
and why. Something about the tension, yes, but what? And then you can become
half or completely insane from your increasingly desperate attempts to let the work
become itself...
Frédéric Chopin didn’t go insane, but with no other composition does he seem to
have struggled as much as with his cello sonata. And that says something, for com-
posing was never easy for him, if we are to believe his friend George Sand: ‘He
locked himself in his room for days, pacing, crying, breaking his pens in half, chang-
ing a measure a hundred times, writing it down only to cross it out immediately,
and the next day he would start again, with desperate persistence, right from the
beginning.’This portrayal seems somewhat romanticized (by the way, if Chopin locked himself
in his room, it’s doubtful that Sand could have observed it so vividly), but Chopin
himself, in a letter to his sister in 1846, also hinted at his arduous compositional
process, though he phrased it much more modestly, even dryly: ‘I write very little
and cross out a lot. Sometimes I’m satisfied with my cello sonata, then I toss it aside,
only to pick it up later.’
It was only after two years of discarding and picking up that the sonata was complet-
ed. Or well, what does ‘completed’ really mean? Chopin’s ambivalent relationship
with the piece remained evident, as he demonstrated at the premiere he gave at
the Parisian Salle Pleyel, together with the renowned cellist Auguste Franchomme,
to whom the sonata is dedicated. Chopin was once again inundated with self-doubt
and decided to omit the entire first movement – roughly half of the composition’s
size.
However, a two-year gestation process is quite modest when compared to the birth
of Francis Poulenc’s cello sonata, a hundred and one years after Chopin’s work. Pou-
lenc began working on it in 1940; it wasn’t until 1948 that he penned the final note.
The reason for this delay was not so much due to the outbreak of World War II (Pou-
lenc was stationed at an air defense unit in Bordeaux in June 1940, but less than a
month later, France surrendered to the Germans, and he was demobilized) but rath-
er because he felt ill at ease composing for string instruments. His violin and piano
sonata from 1942-43 was met with critical reception, ranging from ‘disappointing’
to ‘mediocre,’ and even Poulenc’s biographer Henri Hell claimed that Poulenc ‘ceas-
es to be Poulenc when he writes for violin’2 – a statement I find rather perplexing.
Critics do often miss the mark, but Poulenc himself wasn’t fond of the work either.
While composing it, he referred to the violin sonata as a ‘monster,’ and years later,
his opinion of his own creation hadn’t softened, as evidenced by his lament: ‘Alas,
not the best Poulenc.’3 (I’d be tempted to shout, ‘Well!’ at him.) The experiences with
the violin sonata undoubtedly influenced Poulenc’s challenging and prolonged cre-
ative process in crafting the cello sonata. That he never wrote anything more for a
string instrument after these two pieces (excluding the string sections in orchestral
music, of course) speaks volumes.
Following a difficult birth, there can be two outcomes: the creator is either delighted
and proud that, despite all struggles, success has been achieved, or they forever
regard their creation with a critical eye.
The critical perspectives of Chopin and Poulenc are now hard to imagine, as their
cello sonatas are cherished and admired by performers and listeners alike. The hes-
itations that accompanied their creations are ultimately imperceptible to us. All the
excess marble has been chiseled away. The pieces are entirely themselves. And mon
dieu, how beautiful they are.
Music for the Mourning Spirit
In contrast to Poulenc’s sonata, Rudolf Escher’s Sonata Concertante is indeed a di-
rect outcome of World War II. ‘The inspiration then proved to be a remedy in a world
of mechanized terror,’ Escher wrote in the preface to his piano suite Arcana, which
was composed during the same period. While that might be the case, anyone think-
ing of escapism is entirely mistaken; in the pitch-black music that Escher composed
during these years - reaching its pinnacle in the orchestral work Musique pour l’es-
prit en deuil (‘Music for the Mourning Spirit’) - that mechanized terror resounds re-
lentlessly. Sometimes it’s difficult to listen to, as the oppression is transmitted onto
the sheet music unfiltered. Yet, all the more gripping is the conclusion of these three
compositions born of war: an unexpectedly dazzling – or rather, ear-blinding – radi-
ance. Courage. Light. Yes: hope.
Witold Lutosławski’s short work Grave is, in a way, also music for the mourning spirit:
he wrote it in 1981 in memory of his friend Stefan Jarocinski. A musical monument,
indeed, and it’s probably no coincidence that the Italian word ‘grave’ (‘solemn,’ ‘seri-
ous’) carries a related meaning in English.
Considering that the musicologist Jarocinski specialized in the music of Claude
Debussy, Grave contains a wink. Those familiar with Debussy’s opera Pelleas et
Mélisande will recognize the first four opening notes.
Thomas Beijer
1 George Sand, Histoire de ma vie (V. Lecou, Paris 1854-55)
2 Henri Hell, Francis Poulenc (Fayard, Paris 1978)
3 Francis Poulenc, Journal des mes mélodies (Salabert, Paris 1993)
Quirine Viersen and Thomas Beijer, eminent personalities in the classical music
realm, unite their musical prowess in their collaborative performances, weaving
a musical tapestry that is nothing short of extraordinary. Each note shines with a
shared passion and unwavering dedication.
Quirine Viersen, inspired by her father, a renowned cellist, was the youngest musi-
cian ever to win the Scheveningen International Music Competition. She has since
gained acclaim for her mesmerizing performances with word-class musicians, en-
sembles and orchestras. Viersen’s musical identity is further enriched by her pro-
found connection to her instrument, the ‘Joseph Guarnerius Filius Andreae’ cello
from 1715, which serves as a conduit for her musical expression.
From an early age, Thomas Beijer, recognized as an exceptional musician, claimed
victory in the Young Pianist Foundation National Piano Competition at the age of
eighteen. In 2022, he was honored with the Nederlandse Muziekprijs. His musi-
cal journey has taken him to numerous stages worldwide, showcasing remarkable
versatility that spans from seventeenth-century compositions to contemporary
works. Beijer’s affinity for the Spanish piano repertoire is noteworthy. Additionally,
he has demonstrated his talent as a composer and boasts an impressive discog-
raphy.
BarcaNova Records, founded in 2015, embodies a unique approach to classical
music, driven by Passion, Perfection, and Perseverance. These values are the bed-
rock of our success, evident in every release.
In crafting exceptional musical art, we integrate Musicians, Producers, Instru-
ments, and Equipment —the four essential elements— to achieve musical excel-
lence. By blending these components seamlessly, BarcaNova Records empowers
artists to create truly distinct music, stemming from their heart and soul.
BarcaNova Records
- 1 Bekijk alle specificaties
Oorspronkelijke releasedatum: 11 oktober 2024
EAN: 7434644299255
Drager: CD
Type uitvoering: Standard Edition
Aantal stuks in verpakking: 1 stuk(s)
Speelduur: 83 minuten
Mono of stereo: Stereo
Box set: Nee
Compilatie: Ja
Country: Nederland
Gezongen taal: Nederlands
Import: Nee
Meerdere uitvoerende artiesten: Meerdere artiesten
Muziekgenre: Klassiek
Productie jaar: 2024
Soort verpakking: Jewel Case
Stijlperiode: Klassieke periode
Verpakking breedte: 165 mm
Verpakking hoogte: 20 mm
Verpakking lengte: 185 mm
Verpakkingsgewicht: 115 g
EAN: 7434644299255