Pantoffelkonzert

Description

Berg, Darbellay, Mahler
ENSEMBLE ORION Lisa Tatin, Soprano
Noëlle-Anne Darbellay, Violin
Aymeric Bonhomme, Violin
Adèle Ginestet, Viola
René Camacaro, Cello
Program: Alban Berg (1885-1935)
Seven Early Songs (1905-1908)
in the arrangement for soprano and string quartet by Heime Müller
“Nacht” (Carl Hauptmann)
“Schilflied” (Nikolaus Lenau)
“Die Nachtigall” (Theodor Storm)
“Traumgekrönt” (Rainer Maria Rilke)
“Im Zimmer” (Johannes Schlaf)
“Liebesode” (Otto Erich Hartleben)
“Sommertage” (Paul Hohenberg)
Jean-Luc Darbellay (*1946)
Sept poèmes romands (1986)
for soprano and string trio
“le voile” (François Rossel)
“offrande” (Bruno Ackermann)
“un arbre” (Pierre-Alain Pingoud)
“l’eau” (Pierre-Alain Pingoud)
“la graine” (Pierre-Alain Pingoud)
“la mer” (Pierre-Alain Pingoud)
“sud” (Alain Rochat)
Gustav Mahler (1860-1911)
Kindertotenlieder (1901-1904)
after texts by Friedrich Rückert
in the arrangement for soprano and string quartet by Ivo Bauer
“Nun will die Sonn‘ so hell aufgehn”
“Nun seh‘ ich wohl, warum so dunkle Flammen”
“Wenn Dein Mütterlein tritt zur Tür herein”
“Oft denk‘ ich, sie sind nur ausgegangen”
“In diesem Wetter, in diesem Braus”
“Wovon sich nicht sprechen lässt, davon lässt sich singen”
Songs about the presence of the absent
The idea that music begins where language ends goes back to literary Romanticism. In 1835, Joseph von Eichendorff, with his divining rod (the title of the poem), was on the trail of the “song in all things” and sought the “magic word” capable of transforming the world into song. Only a language that becomes music itself can speak of what it must otherwise remain silent about. Thus goes the credo of Romantic poetry. But if language becomes music, what then becomes of music? In the genre of song, where words and tones are intertwined, where meaning and sound carry and sometimes undermine each other, it is the composers themselves who answer this question. Every song is essentially a meditation on the relationship between music and language. This is particularly true for the three song cycles. The song settings by Gustav Mahler, Alban Berg, and Jean-Luc Darbellay all revolve around an absence that opens up language—and to which music gives acoustic presence. Over a period of more than 80 years, the three composers approach the fateful intertwining of love, loss, and memory and find a musical language for it. The Ensemble Orion presents the three song cycles by Mahler, Berg, and Darbellay in arrangements for soprano and string quartet or trio. In this chamber music setting, the works are also available on a recording that was released in 2022 by Claves Records and received enthusiastic responses in the press.
(Silvan Moosmüller)