1 JUN 2022

7:45 pm – 9:15 pm
Salle de musique / avenue Léopold-Robert 27, La Chaux-de-Fonds

Jean Rondeau harpsichord Thomas Dunford luth

Dialogue on the rising and King’s bedtime

The reign of Louis XIV (from 1661 to 1715) was particularly rich artistically. A great lover of art in general, and music in particular, the king sang, played the guitar and had a strong taste for dancing. Music was omnipresent at court and accompanied both exceptional moments and daily rituals. From the Great Rising to Supper and Bedtime, the rigorous ceremonial that punctuated the monarch’s life gave rise to pieces by major players in the musical life of Louis XIV’s long reign.

Robert De Visée (circa 1650-1665 – after 1732) Suite in D minor (lute and harpsichord) Marin Marais (1656-1728) Les Voix humaines, Lentement (from the Suite No. 3, Second book of viola da gamba and luth) François Couperin (1668-1733) Premier Prélude en do majeur (from L’Art de toucher le clavecin) La Ménetou, Le Dodo ou l’amour au berceau, La Ténébreuse, La Favorite (lute and harpsichord) Jean-Henry D’Anglebert (1629-1691) Prélude (from the Suite in D minor, harpsichord) Sarabande Grave (lute and harpsichord) Antoine Forqueray (father, 1672-1745) Jean-Baptiste Antoine Forqueray (son, 1699-1745) La Portugaise La Sylva Jupiter (Lute and harpsichord) At the beginning of the Baroque period, French composers of solo instrumental music created a language that would inspire many composers from the rest of Europe. In the 17th century, the lute found its home in France: while the first books of lute pieces contain primarily transcriptions of vocal works, later collections offer a totally instrumental repertoire. Virtuoso lutenists such as Denis Gaultier considerably developed the language of the lute: free polyphonic writing, complex ornaments and a broken style (the arpeggio). Little by little, the guitar came to the forefront of the scene (witness the paintings of Watteau, where courtiers and shepherds prefer the guitar to the lute). One musician was to arouse the court’s infatuation with this instrument, certainly less noble, but nevertheless simpler technically speaking: it was Robert de Visée, composer, multi-instrumentalist and guitar teacher to the king. Often required to instruct or sometimes entertain Monseigneur le Dauphin (the future Louis XV), Robert de Visée also stood at the monarch’s bedside in the evening to play the guitar. The work we will hear here is the Suite in D minor: it is a suite of dances in which the contrasts between each of the movements are explored with a unifying principle, the single key. At this time, dance dominated French music. Pour le musicien, la connoissance de l’art de la danse est d’un grand secours pour mieux connoître le vray mouvement de chaque pièce et conserver le mouvement de la mesure. Robert de Visée often took part in Mme de Maintenon’s sumptuous soirées, where his partners included Couperin, Rebel and Forqueray. Antoine Forqueray, an outstanding gambist, has composed numerous pieces for the viol. Considering himself to be the only one capable of interpreting them, he opposed their publication all his life. It was his son, Jean-Baptiste, also an excellent gambist, who published his father’s works for viola da gamba as well as these same pieces transcribed for the harpsichord (where he set about preserving the low tessitura proper to the viol). At that time, most of the works were works in movement: when a composer wrote a piece, he or other musicians transposed it and adapted it to different types of instrumentation. It is on the harpsichord that La Portugaise, La Sylva, La Jupiter will be performed: pieces characterized by great theatricality and formidable sound power. It can be stated that no one has surpassed Marais, only one man has equalled him, the famous Forqueray. By saying that one played like a god and the other like a devil, the monarch himself seems to have had fun orchestrating the rivalry between Marais and Forqueray. Marin Marais, an extremely talented and prolific composer and performer, brought the art of the viol to a very high level of perfection. Between 1686 and 1725, he published five volumes of viol pieces, from which Les Voix Humaines, a work of great sensuality, is extracted. As most composers of his time, Marais drew his inspiration from literary sources, more precisely theatrical sources (Molière and Racine) and was inspired by the language of lyrical tragedy, of which Jean-Baptiste Lully is the most illustrious representative (the inescapable Monsieur de Lully, who appears on most of the dedications of the works heard tonight). Gaultier’s musical legacy survives in harpsichord music. It is in Jacques Champion de Chambonnières that the French harpsichord school finds its first great representative: a harpsichordist at the French court, his influence is considerable, especially on Louis Couperin (François’ uncle) and Jean-Henri d’Anglebert (who took over as Ordinary of the Music of the King’s Chamber for the harpsichord). In 1689, the latter published his Pièces de clavecin, the only work in which he added transcriptions of works by Lully to the dance suites of his composition. In France, this book is the first printed work to include a table of ornaments indicating the manner in which they are to be performed. We will discover the Prelude in D minor and the Sarabande Grave. Nicknamed “le Grand” because of his exceptional mastery of the organ and undisputed master of the harpsichord, François Couperin succeeded Jean-Henri d’Anglebert as court organist and also held the position of organist at the Chapelle Royale. Known today notably for his moving Leçons de ténèbres, he published a reference treatise, L’art de toucher le clavecin, which instructs the performer on the beautiful Touch of the Harpsichord and the taste appropriate to this instrument. His mutinous, sensual pieces, with poetic and mischievous titles, are as many small portraits and landscapes, bringing Couperin closer to the fabulist La Fontaine or the painter Watteau. During this royal evening, Jean Rondeau and Thomas Dunford, two alchemists who are keen on experimentation, will revisit the subtle and sublime French baroque of this period rich in contrasts, where the music is at once refined, flamboyant, theatrical and poetic. The King is dead! Long live the music! Comment: Céline Hänni, Centre de culture ABC

2019/20 season Previous concerts

@ Marco Borggreve


7 JUL 2020, 19:45 pm

Concert originally scheduled for May 9, 2020 7:45 pm – 9:45 pm Salle de musique / avenue Léopold-Robert 27, La Chaux-de-Fonds

Arod Quartet

Jordan Victoria, violin Alexandre Vu, violin Tanguy Parisot, viola Samy Rachid, cello

“Go away – Ah go away from me cruel skeleton I’m still young, let me, not touch me, dear death. Give me your hand, you beautiful and tender I come as a friend not to punish you. Be brave, I am not cruel. You will sleep at peace in my arms.

Schubert String Quartet No. 4 in C major Schubert String Quartet No. 12 in C minor Schubert Der Tod und das Mädchen (The Maiden and Death) String Quartet No. 14 in D mineur D 810 Wanting to understand Schubert, his so particular lyricism, a mixture of candor and dark visions, is to begin by immersing oneself in his matrix universe: the romantic Lied. Schubert will give this advice: “To be listened to in winter, but in my lieder, spring with all its flowers is already present”. This duality between ashes and embers permeates the poetic world in which Schubert lived his real life. Through popular texts, but above all through the poems of little poets (for apart from Heine, and so little Goethe, the great poets have always rendered musicians powerless), Schubert lived vicariously through lives and loves adrift: pale moon, snow and winter, brook-tomb, pale forests, young girls who betray, sleep and death. Schubert’s inspiration is a wandering in these words that touched him deeper than tears, so the theme of consoling death was constant in his mind. Death rained down everywhere in his life, and in between mourning and his stillborn works, Schubert had made himself a gentle and resigned philosophy about the world. All the more so as the era, itself melodramatic and morbid, was very much focused on the presence of death and its taming through consolation. The String Quartet in D minor was completed in March 1824, at the same time as the String Quartet No. 13 in A minor Rosamunde and the Octet. These quartets were brought together after a great period of doubt and sterility. Pianist, but also violist Schubert liked to make music together. Chamber music was to be his home. Schubert made quartets very early, at least five in 1813. Then two more in 1814 and in the years 1815-1816. But for more than eight years, from 1816 to 1824, he did not compose any quartets. He was elsewhere, immersed in the abundance of lieder that flowed from him without restraint. Failed operatic projects also took up his time. The return to the noble and austere form that is the string quartet came about by the reminder of the fragility of existence that struck him in 1824. Hardly recovered from a very serious venereal disease, as if by an inner promise he returned to the form of the quartet, but also to the writing of dances and variations. As if life was returning. He also wanted to move towards “higher” forms, the symphony: “I have composed two quartets… and I still want to write, because only in this way can I find my way to the great symphony”. But these almost twin quartets, Rosamunde and The Maiden and Death, are still singing, surpassing singing. Quartet No. 14 was not performed privately until two years later, in 1826, and could never be published during Schubert’s lifetime. The overall key of this quartet is based on the key of the Lied “der Tod und das Mädchen” composed in February 1817, whose text by Matthias Claudius is given below: Go away – Ah go away from me cruel skeleton I am still young, let me, not touch myself, dear death. Give me your hand, you beautiful and tender I come as a friend not to punish you. Be brave, I am not cruel You will sleep calmly in my arms.

Trio Wanderer Vincent Coq, piano Jean-Marc Phillips-Varjabédian, violon Raphaël Pidoux, violoncelle & Pascal Moraguès, clarinette


16 FÉV 2020

17 h 00 – 19 h 00 Salle de musique / avenue Léopold-Robert 27, La Chaux-de-Fond

Trio Wanderer & Pascal Moraguès, clarinette

Vincent Coq, piano
Jean-Marc Phillips-Varjabédian, violon
Raphaël Pidoux, violoncelle
Pascal Moraguès, clarinette

Trio op. 11 pour clarinette, violoncelle et piano

« Trio des Esprits » pour violon, violoncelle et piano

Contrastes, pour clarinette, violon et piano

Quatuor pour clarinette, violon, violoncelle et piano

Il y a 250 ans, en décembre 1770, naissait Ludwig van Beethoven. Sa musique allait toucher le coeur des humains. La postérité lui a donné une dimension universelle.

La première partie du concert rend hommage à la grandeur du musicien, de l’homme, non pas au sens égocentrique du terme, mais dans ce qu’il peut contenir d’universalité, d’humanité, de cœur, d’esprit et de paix.


16 h 00 – 16 h 30 : avant-concert Salle de musique / avenue Léopold-Robert 27, La Chaux-de-Fonds

Elèves du Conservatoire de musique neuchâtelois

Entrée libre !

Programme communiqué samedi 15 février à l’issue du Cours public d’interprétation, sur notre page Actualité relayée par notre page Facebook


15 FÉV 2020

14h30 à 20h (accueil à 14h20) Salle de musique / avenue Léopold-Robert 27, La Chaux-de-Fonds

Cours public d’interprétation par Pascal Moraguès aux élèves de clarinettes du Conservatoire de musique neuchâtelois-CMNE

Entrée libre !

Découvrez la liste des participants et des participantes en page 2 du programme du week-end.

En collaboration avec le Conservatoire de musique neuchâtelois.

Les Arts Florissants William Christie, direction musicale et clavecin Emmanuelle de Negri, soprano Thomas Dolié, baryton


30 JAN 2020

19 h 30 – 21 h 30 Salle de musique / avenue Léopold-Robert 27, La Chaux-de-Fonds

Les Arts Florissants William Christie, direction musicale et clavecin

Emmanuelle de Negri, soprano Thomas Dolié, baryton

Instrumentistes des Arts Florissants :
Violons : Emmanuel Resche, Théotime Langlois de Swarte
Viole de gambe : Juliette Guignard
Flûte traversière : Serge Saitta
Théorbe : Clément Latour

Emmanuel Resche-Caserta joue sur un violon de Francesco Ruggeri prêté par la Fondation Jumpstart Jr (Amsterdam)

Les Arts Florissants redonnent vie à l’une des plus brillants salons du Grand Siècle, un Salon constitué d’artistes et d’intellectuels rassemblés par l’une des femmes les plus puissante de son temps, la Duchesse du Maine dans son Château de Sceaux. Voltaire, D’Alembert, Montesquieu ou Marivaux étaient tous des visiteurs réguliers, ainsi que des compositeurs bien connus de l’époque, comme Clérambault, Bernier et Mouret ; tous ont écrit de nombreuses œuvres qui lui étaient dédiées ou qui s’inspiraient d’elle. Et comme la Duchesse était insomniaque, les soirées étaient longues…

« Le Salon de la Duchesse »
sélection de Cantates séculaires

Nicolas Bernier (1664-1734)
Duo extrait de la Cantate « Europe et Jupiter »
(Cantates, Livre IV, 1739)

Jean-Joseph Mouret (1682-1738)
Premier concert, extraits :
Ouverture – Venissienne – Air – Rondeau – Sarabande – Tambourins I et II
(Concert de chambre pour les violons, flûtes, et hautbois (…), s.d.)

Louis-Nicolas Clérambault (1676-1749)
L’Amour piqué par une abeille
(Cantates, Livre I, 1710)

Jean-Joseph Mouret

Prens la pinte Claudeine
Du Dieu du vin quand tu chantes la gloire
Buvons Enyvrons nous tous deux
(III° Livre d’airs sérieux et à boire, 1727)

Nicolas Bernier

L’Amour vainqueur
(Cantates, Livre VI, s.d.)

Jean-Joseph Mouret
Premier concert, extraits :
Chaconne (coupure de mesure 89 à mesure. 124)
(Concert de chambre pour les violons, flûtes, et hautbois (…), s.d.)

Nicolas Bernier
Diane et Endimion
Cantates, Livre II, s.d.)

18 h 15 – 18 h 45 : avant-concert Conservatoire de musique neuchâtelois, Salle Faller, La Chaux-de-Fonds

Elèves du Collège musical de la Ville de La Chaux-de-Fonds

Entrée libre

Jana Willi et Malika Naula, flûtes à bec, classe de Danièle Golan.

Avec la collaboration de Miriam Lubin clavecin et Marion Bélisle violoncelle

Marin Marais (1656-1728) de la Suite en mi mineur pour pour deux dessus et continuo : Prélude lentement – Fantaisie – Gavotte – Rondeau – Sarabande en rondeau – Menuet – Caprice lentement – Passacaille

Jacques Martin Hotteterre le Romain (1674-1763) Sonate en trio pour flûtes à bec et basse continue op 3 n°4 en sol mineur : Gravement – Fugue gay – Grave – Gigue

Sources :
Concert 1 – Les Arts Florissant
Concert 2 – Beethoven, opus 11 et 70 : notes rédigées par Richard Wigmore © 2004 / Bartok : Clédesol, / Hindemith :
Concert 3 – Céline Hänni, Centre de culture ABC
Concert 4– Schubert : / Webern : wikipedia et amazon
Concert 5 – Ravel : / Enesco : wikipedia / Ysaÿe : / Prokofiev : hypé