{"id":3261,"date":"2016-10-26T03:57:07","date_gmt":"2016-10-26T01:57:08","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=3261"},"modified":"2025-05-06T16:00:49","modified_gmt":"2025-05-06T14:00:49","slug":"caroline-boissier-butini-la-suisse-berner-kammerorchester-2","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/caroline-boissier-butini-la-suisse-berner-kammerorchester-2\/","title":{"rendered":"CAROLINE BOISSIER-BUTINI : CONCERTO NO. 6 “LA SUISSE” \u2013 BERNER KAMMERORCHESTER"},"content":{"rendered":"

First World Recording<\/strong><\/em><\/h3>\n

Caroline BOISSIER-BUTINI : <\/strong>Concerto No. 6 en sol pour piano, fl\u00fbte oblig\u00e9e et cordes, \u00ab La Suisse \u00bb \u2013 Pi\u00e8ce pour l\u2019orgue \u2013 Sonate pour piano No. 1 \u2013 Divertissement avec rondo \u00e0 la polacca pour piano, clarinette et basson.<\/p>\n

Eva-Maria Zimmermann<\/strong>, Piano \u2013 Regula K\u00fcffer<\/strong>, Flute \u2013 Nicoleta Paraschivescu<\/strong>, Organ \u2013 Babette Dorn<\/strong>, Piano \u2013 Didier Puntos<\/strong>, Piano \u2013 Michel Westphal<\/strong>, Clarinet \u2013 Catherine P\u00e9pin<\/strong>, Bassoon \u2013 Berner Kammerorchester<\/strong>, Matthias Kuhn<\/strong>, Conductor.<\/p>\n

The 6th piano concerto, La Suisse<\/b><\/h4>\n

Caroline Boissier-Butini’s 6th concerto for piano and <\/span>\ufb02\u00fbte oblig\u00e9e<\/i><\/span>, which she herself entitled <\/span>La Suisse<\/i><\/span>, was inspired by folksongs; the sources do not allow us to date the concerto precisely, but we can assume that it was composed before 1818. A return to folk melodies was entirely in keeping with the times; Beethoven, for example, used such themes, as did Carl Maria von Weber, who was born in the same year as Boissier-Butini. Her innovation, however, is to quote the “ranz des vaches”, the musical themes that would have awakened in her contemporaries an archetypal sense of Switzerland.<\/span><\/p>\n

The opening of the \ufb01rst movement (Allegro) is kept consciously simple. After a central section, with a virtuosic piano part and audacious modulations, the opening themes reappear at the end of the movement in a slightly varied form. The slow middle movement (Andantino), the second theme of which is a \u201dranz des vaches\u201d, such as the one made legendary by Rousseau is striking for its rich colours and rhythms, in particular the interactions between piano, \ufb02ute and bass voices. A Presto draws the piece into the last movement (Rondo), where Caroline Boissier varies the theme six times in different instrumentation, and modulates the piano\u2019s solo passages cleverly, pre\ufb01guring the spirit of late 19th-century salon music.<\/p>\n

While the piano part is extremely virtuosic, the relatively simple orchestration should mean the piece \ufb01nds its way into the repertoire of youth or amateur orchestras.<\/p>\n

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The \ufb01rst piano sonata<\/b><\/h4>\n

In the Geneva city library lie the manuscripts of three piano sonatas by Caroline Boissier-Butini. Where the second and third seem still sketchy in places, the \ufb01rst appears the most thoroughly worked out. But even here, substantial editorial work was necessary before the piece was playable. In addition to often indistinct handwriting and incomplete accidentals, suggesting this was a copy for her own use, the lack of dynamics and phrase markings posed a great challenge. The sonata form of the \ufb01rst piece is a clear expression of the composer’s engagement with Beethoven and Mozart as role models. Her harmonies, by contrast, are unconventional; in the \ufb01rst movement, in particular, she experiments freely with the chords, and makes unexpected harmonic disjunctions. The improvised character of certain transitional passages is expressed here. In this piece, too, the composer creates a rustic atmosphere; in the second movement, after an introverted opening theme and a contemplative middle section reminiscent of a chorale, the \ufb01nal motive lends a bucolic charm to the ending.<\/p>\n

The idyllic, peaceful atmosphere is interrupted by the opening theme of the third movement: subliminal unrest makes itself felt through syncopated chords. The surprise in learning to play this piano sonata is the wide intervals, not at all suitable for what we imagine as \u201cthe delicate hands of a lady\u201d. The voice leading is also unusual, becoming clear only through a generous use of \ufb01nger pedal – an open \ufb01eld of experimentation for creative interpreters.<\/p>\n

The Divertissement avec rondeau \u00e0 la polacca<\/b><\/span><\/h4>\n

Titled in manuscript – probably an autograph <\/span>– <\/span>Divertissement avec rondeau \u00e0 la polacca<\/i><\/span>, this piece consists of two independent themes with variations. The possibility that a third movement was planned should not be ruled out.The Divertissement is the only piece of chamber music in Caroline Boissier\u2019s oeuvre with the complete materials extant. Scored as it is for clarinet and bassoon, it is exceptional; the composer may have written it for a particular occasion or for wind players she knew. The bassoonist Wolff Hauloch and the clarinettist Rostan, who regularly performed together in various ensembles, are known to have been in Geneva around 1815.<\/span><\/p>\n

The two folk-style themes on which the two- movement Divertissement is based have not been identi\ufb01ed as well-known songs from the collections of songs published in Switzerland in the 18105. They may be two of the \u201dairs nationaux\u201d that Caroline Boissier-Butini in her letters often says she has composed. Both her engagement with folk tunes and the choice of a Polonaise con\ufb01rm that Boissier-Butini was thoroughly in tune with the musical fashions of her day.<\/p>\n

The Polonaise in particular shows Caroline Boissier-Butini\u2019s facility in creating an atmosphere through instrumentation: the recurring theme at one point features rhythmic trills reminiscent of a musical automaton, while at another point the piano\u2019s arpeggios provide a guitar-like accompaniment.<\/p>\n

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Le ranz des vaches s\u2019invite \u00e0 la salle de concert<\/b><\/h4>\n

Les \u0153uvres pr\u00e9sent\u00e9es sur ce CD-portrait refl\u00e8tent plusieurs facettes de la cr\u00e9ativit\u00e9 de Caroline Boissier-Butini : la musique d\u2019agr\u00e9ment, avec le Divertissement et le concerto pour piano et fl\u00fbte oblig\u00e9e La Suisse<\/i> ; la musique \u00ab\u00a0s\u00e9rieuse\u00a0\u00bb, avec la sonate no 1, ainsi que la musique patriotique, avec la Pi\u00e8ce pour orgue<\/i>. Les m\u00e9lodies \u00e0 caract\u00e8re populaire forment le \ufb01l rouge, de l\u2019ambiance pastorale de la \ufb01n du deuxi\u00e8me mouvement de la sonate a la citation int\u00e9grale du ranz des vaches gru\u00e9rien dans le concerto en passant par l\u2019hymne genevois C\u00e9 qu\u2019\u00e9 lain\u00f4<\/i> dans la Pi\u00e8ce pour l\u2019orgue<\/i>.<\/p>\n

Quant aux th\u00e8mes du Divertissement<\/i>, faute d’avoir pu \u00eatre identifi\u00e9s, ils pourraient \u00eatre de la plume de Caroline Boissier-Butini elle-m\u00eame, car dans ses lettres de cette p\u00e9riode, elle fait \u00e0 plusieurs reprises allusion \u00e0 des \u00ab\u00a0chants nationaux\u00a0\u00bb qu\u2019elle a compos\u00e9s. Ces quatre pi\u00e8ces sont les rares t\u00e9moins d\u2019une \u00e9poque encore peu document\u00e9e de l\u2019histoire de la musique en Suisse et les enregistrements constituent des premi\u00e8res mondiales, servies avec engagement par des interpr\u00e8tes de qualit\u00e9\u00a0: Babette Dorn, Didier Puntos et Eva Maria Zimmermann piano\u00a0; Nicoleta Paraschivescu, orgue\u00a0; Regula K\u00fcffer, fl\u00fbte\u00a0; Michel Westphal, clarinette\u00a0; Catherine P\u00e9pin, basson\u00a0; Matthias Kuhn, chef d\u2019orchestre.<\/p>\n

Ir\u00e8ne Minder-Jeanneret, Revue Musicale Suisse<\/b><\/h4>\n

 <\/p>\n

Fr\u00fchromantische Musikperlen<\/b><\/h4>\n

Es gibt sie noch, die wundersamen Entdeckungen der Musikgeschichte. Im Rahmen einer Dissertation ist der Nachlass einer nahezu vergessenen Musikerin aus Genf gefunden worden. Zutage gef\u00f6rdert wurden Manuskripte mit fr\u00fchromantischen Musikperlen. Caroline Boissier-Butini \u2014 sie lebte von 1786 bis 1836 \u2014 war zu Lebzeiten eine gefeierte Pianistin. In ihre Musik hat sie oft Schweizer Lieder eingewoben.<\/p>\n

DRS 2 und das Label Gallo haben eine CD mit der 1. Klaviersonate, Orgelst\u00fccken, einem Divertissement und dem 6. Klavierkonzert (am Piano: Eva-Maria Zimmermann) mit obligater Fl\u00f6te ver\u00f6ffentlicht. Dieses Werk mit dem Beinamen \u00abLa Suisse\u00bb verspr\u00fcht Lokalkolorit par excellence. Demn\u00e4chst wird anhand von Tageb\u00fcchern, Briefen und Reisenotizen die Biografie von Boissier-Butini ver\u00f6ffentlicht; bestimmt ein spannendes und horizont\u00f6ffnendes Ereignis.<\/p>\n

Andr\u00e9 Scheurer, Radio Swiss Classic<\/strong><\/h4>\n

[\/show_more]<\/p>\n","protected":false},"excerpt":{"rendered":"

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