Beethoven - Léo Marillier - Ensemble A-letheia | VDE-GALLO



Léo Marillier Plays Ludwig Van BEETHOVEN: Violin Concerto in D Major, Op. 61 (Unpublished version according to the manuscripts of Vienna) – Canons: Te solo adoro, WoO 186 – Freu’ dich des Lebens!, WoO 195 – Glaube und hoffe!, WoO 174 – Canon in A Major, WoO 35 – Mass in D Major, Op. 123 “Missa Solemnis” : Benedictus – Rondo alla ingharese quasi un capriccio, “Rage Over a Lost Penny”, Op. 129.

Léo Marillier, Violin – Antoine de Grolée, Piano – Ensemble Orchestral A-letheia, Jacob Bass, Conductor.

Léo Marillier, Violonist

Leo Marillier is not only a marvelous violinist, but also a musician questioning music. This is what reaches us when listening : whether it is an important, and overly repeated work such as the Beethoven violin concerto, or an unknown modern work, he gives us new things to discover in them, gives the work a perspective and makes us live its gestation, therefore rendering it contemporary once more.

Philippe Graffin

One day, Leo Marillier brought me a bundle of sheets, and photocopies of a musical manuscript of which he played generous excerpts. I heard then an extraordinary parahphrase of the Beethoven violin concerto, which, having passed the first impression of surprise, rang to my ears as one infinite dream on the most beautiful – perhaps also mysterious – of violin concertos. I heard then that itw as a first, earlier version of the work, kept at the Vienna Library, a teeming and audacious work, almost experimental in its shameless exploration of the limits of our instrumenal language, and also in its desire, as free as the former, to draw everything out of a compositional material. The latter only existed as sketch, and there is something fascinating in the experience which consists of following, step by step, the evolution of a thought still being constructed, a ‘work in progress’, which first abandons itself to abundancy before shearing off afterwards each fragment of the discourse ; this process, this evolution will give way to the purity we are acquainted today with and is engraved for eternity. The discovery has nothing to do with the questionable edition, questionable because self-named definitive and ‘authentic’, which Wolfgang Schneiderhan established, in the 1980’s, after the piano transcription which Beethoven himself realized, after the failure of a first performance blamed on the carelessness of Franz Clement (we shall despite the rest retain from this editorial project the stunning timpani solo included in the cadenza, splendid idea which Marillier takes on a new level). The revelation of this primordial manuscript encourages us to undertake a new spiritual adventure. It allows us to delve at the very core of the gestation of a work promised – as we know – to the highest glory after upsetting historical first steps. With this in mind, the document enriches our intimate knowledge of the concerto opus 61, giving us, maybe, even new keys for interpretation. I want to honor here the exceptionnal work of Léo Marillier, which only an accomplished virtuoso, as well as researcher and composer, could undertake. Far from a simple curiosity, he gives to see and hear many a hidden truth, taking good care of being as close as possible to the first intentions of the composer.

Alexis Galpérine

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