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RENCONTRES INÉDITES I
Haydn, Poulenc, Mozart
The Verbier Festival presents the ‘Rencontres Inédites’, where the greatest soloists come together in never-before-heard combinations. For this first evening, Ilya Gringolts, Lawrence Power, Nicolas Altstaedt, Jean-Efflam Bavouzet and many others join forces for a colourful and festive programme, from Haydn to Poulenc.
Programme
JOSEPH HAYDN (1732-1809)
Trio for Flute, Cello and Piano in D Major Hob. XV:16, arr. for Flute, Cello and Harp J. Rovinsky
(Gafner, Bogner, Hartmann)
FRANCIS POULENC (1899-1963)
Sextet for Piano and Winds FP. 100
(Bavouzet, Bogner, Grouiller, Tasić, Van Holen, Charpentier-Leroy)
Interval
WOLFGANG AMADEUS MOZART (1756-1791)
Divertimento in E-flat major K. 563
(Gringolts, Power, Altstaedt)
Distribution
- Ilya Gringolts violin
- Lawrence Power viola
- Nicolas Altstaedt cello
- Nicolas Hartmann cello
- Magdalena Bogner flute
- Rémi Grouiller oboe
- Aleksandar Tasić clarinet
- Simon Van Holen bassoon
- Clément Charpentier-Leroy horn
- Tjasha Gafner harp
- Jean-Efflam Bavouzet piano
Performed here in a never-before-heard version for harp, flute and cello, the Trio for flute, cello and piano in D major Hob. XV:16 blossoms in a spring-like mood, the instruments peppering the notes in a bouncy, playful spirit.
Since the success of his Aubade, Poulenc had been aware of his talent for writing for woodwinds, and decided to put it to good use in an unusually configured Sextet. Cheeky, virtuosic and mocking, the work achieves a remarkable synthesis of the different musical currents of its time: the lyricism of a Rachmaninoff, the rhythmic energy of a Bartók, the lively spirit of a Stravinsky. In the Finale, there are even waltz rhythms à la Kurt Weill and timbres that seem to evoke Schoenberg, testifying to the composer’s open-mindedness.
Mozart’s Divertimento in E flat Major is often considered by specialists to be a work apart from the rest of his output, and the name Divertimento is merely a pretext for Mozart to give free rein to his imagination. Its duration far exceeds the canons of the genre, and it should be noted that it is one of the few pieces by Mozart that was not commissioned. The central part of the first movement, extremely modulating, heralds the Beethovenian revolution, while the Finale is a theme and variations reminiscent of the last movement of the Clarinet Quintet; except that the variation that serves as the emotional climax of the work is a sombre melody declaimed in minor, rather than an Adagio that deliberately breaks the rhythm of the piece.