Quatuor Harpege Volume 1

The first album from Quatuor Harpege, harp quartet, which was formed in Geneva in 1990, While the music is, in the main, standard solo harp repertoire, hearing these works as a quartet is rather unusual.

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Four young harpists, having brilliantly finished their music studies, met at Geneva in 1990, with the desire to play together and assemble a repertoire.

A harp quartet? that’s not easy one has to find the scores and then adapt them - which has been done so often before (often by illustrious composers). Isabelle Marie, a first prize winner of the Fans Academy started the work. Nathalie Chatelain, Line Gaudard, Isabelle Martin-Achard Moliet are holders of virtuoso awards of the Lausanne Academy, from the class of Chantal Mathieu-Baiavoine. The harp quartet started successfully in Geneva the aim of this formation is the research of a style different to the traditional image of a lounge harpist or the often discreet orchestra harpist.

Since 1990 the great success of the harp quartet proves the interest granted to this research.

Claudine Vellones

The harp quartet has performed many times in Geneva, in all the major towns of Switzerland. in France and Luxembourg. They were invited in March 1994 to Fans to perform at MUSICORA in a concert broadcasted live on several cultural channels. The harp quartet had already inspired several contemporary composers and wishes to further develop their repertoire as well as their instrumental and educational activities.

Programme notes

Antonio Vivaldi (1678-1741) Concerto Grosso Nr. 11

This venitian of radiant personality called ‘the red priest’ was a distinguished violinist and a composer full of genius. The concerto for two violins in D minor R.V. 565 Op. 5, starts with a lively allegro modulating to a dominant cadence. A fugue theme is then exposed and develops con brio up to the final free cadence. The argo is a meditative dreamy song, supported by a pastoral rythm. In the final allegro, Vivaldi introduces a surprising chromatism which reveals his eloquent imagination. The transcription for the quartet is by Claudine Vellones.

Arcangelo Corelli (1653-1713) Saraband, Jig and Jest

It was in Rome, where the marvellous violinist lived since 1681, that Corelli wrote and published several instrumental Sonata pieces. Protected by the Cardinal Ottoboni, nephew of the Pope. he lived fully his life of virtuoso and composer, surrounded by respect and admiration. Several Sonata pieces for two violins and bass contain dance movements and these famous compositions, transcribed by Gian-Luigi Toochi, form a pleasant little suite.

Jean-Chretien Bach (1735-1782) Sonata in G major

Jean-Chretien Bach was the eleventh son of Jean Sebastien. He studied music with his brother Carl- Philipe Emmanuel and then after in Italy where he was appointed as organist of the Milan Dome. He then settled permanently in London from 1762 and became a brilliant composer. The style of this sonata, curiously composed of two movements, is similar to that of Joseph Haydn being optimistic and joyful. This adaptation by Claudine Vellones is taken from the original version for two harpsichords.

Jacques Offenbach (1819-1880) Barcarolle. Extract from “The Tales of Hoffmann”
The sole opera by Offenbach, “The Tales of Hoffmann”, which was his favourite work, was unfinished and created after his death in 1661. The famous “Barcarolle”, played here according to the adaptation by F J. Breuer, is situated at the start of “The act of Venice’, act. III. In its original form, it is a duet accompanied by choirs and orchestra.

Gabriel Faure (1845-1924) Lullaby
A Lullaby taken from the collection “Dolly”, Op. 56, for 4-hand piano, adapted for 4 harps by IsabelleMarie. “Dolly” was composed between 1893 and 1896. The first of the six pieces is the ‘Lullaby’, which firstly appeared alone in 1894: then followed the other titles. Pull of tenderness, these small pieces were composed for Helen, named ‘Dolly”, who was the daughter of Emma Bardac, second companion of Claude Debussy and friend of Faure.

Claude Debussy (1862-1918) Little Suite
The little Suite for 4-hand piano dates 1889. Later, Henri Busser ( 1872-1973 ) wrote a fully successful orchestration. This adaptation for four harps by Isabelle Marie is inspired by the two versions with their varied tones full of freshness. This reproduction is effected with the kind authorization of the Durand Company. The four parts are: In the Boat, Cortege, Minuet, Ballet.

Ernesto Lecuona (1896-1963 ) Malaguena.
Pine transcription by Arrabella, Sparnon, an American harpist, for this well-known piece of the Cuban composer. The malaguena, originated in Andalousia, is a 3-beat flamenco song, descending from Pandango. These full-rythmed songs, in ancient times, were accompanied by the vihuela and later by the guitar.

Jan Hanus (1915) Nymph and Pan.
A Cezch composer of the Dvorak and Smetana tradition. This piece, originally written for four harps has two parts : Introduction and Toccata. This work has much lyricism in the first part and a dramatic progression in the second part. Hanus uses some specific effects on the harp, like the pedal-sliding and the rapid scale passage with the nails, to give more strength and colour to his music.

Pearl Chertok (1808-1880) Harpicide at Midnight.
This American harpist inspired many contemporary composers. This piece is part of a suite for harp only: “Around the Clock”, in 4 movements : “Ten past Two, Beige Nocturne. Harpicide at Midnight, The Morning After.” It has been adapted for 4 harps by Chantal Mathieu-Balavoine. Here is the text accompanying the piece:

“ The dance begins and the rythm grows more and more insistent.
The melody is lost and finally there is only
the pulse of dancing feet.”

Credits

Enregistrement effectue en mars 1994 au studio d’enregistrement FIDESSON
Phoro couverture Guy GINDRE - Conception graphique Blaisse-Alain CART - Traductions: Hannah SCHNOG et Robert SLADE
Collaboration artistique Claudine VELLONES et Monique CHATELAIN - Prise de son et enregistrement digital: Robert BORNAND
© Production: FIDESSON SA - Droits des auteurs et du producteur du support de son reserves; notament pour l'execution, l'emission et la duplication.