James Ehnes HOMAGE
Transcript of James Ehnes HOMAGE
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HOMAGEJames Ehnes
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HOMAGEViolins
ANTONIO BAZZINI 1 La Ronde des Lutins 4.54
Antonio Stradivari, 1715 âMarsickâ
MANUEL DE FALLA (arr. Paul Kochanski) Suite populaire espagnole
2 I El paño moruno 2.14Giuseppe Guarneri âdel GesĂčâ, 1737 âKing Josephâ
3 II Nana 2.18 Antonio Stradivari, 1733 âSassoonâ
4 III CanciĂłn 1.26Antonio Stradivari, 1719 âDuke of Albaâ
5 IV Polo 1.20 Giuseppe Guarneri âdel GesĂčâ, 1742 âLord Wiltonâ
6 V Asturiana 2.00Antonio Stradivari, 1709 âLa Pucelleâ
7 VI Jota 3.01Antonio Stradivari, 1715 âBaron Knoopâ
EDWARD ELGAR8 La Capricieuse 4.13
Pietro Guarneri (Peter of Mantua), 1698 âShapiroâ
CYRIL SCOTT (arr. Fritz Kreisler)9 Lotus Land 5.03
Giuseppe Guarneri âdel GesĂčâ, 1737 âKing Josephâ
GRIGORAS DINICU (arr. Jascha Heifetz)10 Hora staccato 1.59
Antonio Stradivari, 1713 âBaron dâAssigniesâ
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MAURICE RAVEL 11 PiĂšce en forme de Habanera 3.08
Antonio Stradivari, 1715 âMarsickâ
HENRYK WIENIAWSKI (arr. Fritz Kreisler) 12 Ătude-Caprice op.18 no.4 1.32
Pietro Guarneri (Peter of Mantua), 1698 âShapiroâ
JEAN SIBELIUS13 Mazurka op.81 no.1 2.36
Antonio Stradivari, 1719 âDuke of Albaâ
MORITZ MOSZKOWSKI (arr. Pablo de Sarasate)14 Guitarre 3.23
Antonio Stradivari, 1713 âBaron dâAssigniesâ
EDWARD ELGAR 15 Salut dâamour 3.00
Antonio Stradivari, 1709 âLa Pucelleâ
FRITZ KREISLER16 Chanson Louis XIII and Pavane 4.38
Antonio Stradivari, 1733 âSassoonâ
PYOTR ILYICH TCHAIKOVSKY 17 Melody op.42 no.3 3.37
Giuseppe Guarneri âdel GesĂčâ, 1742 âLord Wiltonâ
MANUEL DE FALLA (arr. Fritz Kreisler)18 Danse espagnole 3.34
Antonio Stradivari, 1715 âBaron Knoopâ
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Violas
RALPH VAUGHAN WILLIAMS19 Fantasia on âGreensleevesâ 4.36
Gasparo Bertolotti (Gasparo da SalĂČ), ca. 1560
ARTHUR BENJAMIN (arr. William Primrose)20 Jamaican Rumba 1.48
Giuseppe Guadagnini, 1793 âRollaâ
FĂLICIEN DAVID (arr. Henri Vieuxtemps)21 La Nuit 4.32
Andrea Guarneri, 1676 âCount Vitale, ex Landauâ
Comparison Tracks
Violins: MAX BRUCH Scottish Fantasy (excerpt)22 Pietro Guarneri (Peter of Mantua), 1698 âShapiroâ23 Antonio Stradivari, 1709 âLa Pucelleâ24 Antonio Stradivari, 1713 âBaron dâAssigniesâ25 Antonio Stradivari, 1715 âMarsickâ26 Antonio Stradivari, 1715 âBaron Knoopâ27 Antonio Stradivari, 1719 âDuke of Albaâ28 Antonio Stradivari, 1733 âSassoonâ29 Giuseppe Guarneri âdel GesĂčâ, 1737 âKing Josephâ30 Giuseppe Guarneri âdel GesĂčâ, 1742 âLord Wiltonâ
Violas: HECTOR BERLIOZ Harold in Italy (excerpt)31 Gasparo Bertolotti (Gasparo da SalĂČ), ca. 1560 32 Andrea Guarneri, 1676 âCount Vitale, ex Landauâ33 Giuseppe Guadagnini, 1793 âRollaâ
James Ehnes violin and violaEduard Laurel piano
Total timing: 78.39
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HOMAGE
As music has developed through history, so have musical instruments. The instrumental families ofstrings, winds and percussion have remained constant, but the instruments themselves havecontinuously evolved. Todayâs flutes have little relation to the flutes played by the ancient Greeks,and Bach would have been amazed by todayâs concert grand piano. But string instruments are anexception: the most coveted violins, violas and cellos are those that were made hundreds of yearsago, in a small area of northern Italy, by a handful of legendary makers.
Our finest string instruments possess a perfect combination of tonal beauty, range of colour, clarity,and projection. It is not uncommon to find an instrument with one or even two of these traits inabundance, but to find all of these elements in the same instrument is rare indeed. The makers ofthe instruments featured in this recording created violins and violas that have never been surpassed.It remains a mystery why string instrument making reached its peak at this particular period inhistory. Perhaps the only reasonable explanation is that making string instruments is not just a craft,but also an art form. Like many art forms, violin-making had a âgolden ageâ where brilliant artistsliving in close proximity during a time of high market demand inspired one another to create worksof unequalled greatness.
Over the centuries, the instruments of this era have been dispersed across the globe. Butperiodically there have been individuals who have compiled important collections of thesemagnificent violins, violas and cellos, providing a unique opportunity to see them within a context,and allowing players not just to appreciate them individually, but to compare and contrast. Dr DavidFulton has amassed one of historyâs finest private collections, containing many of the worldâs mostrenowned stringed instruments. This recording is the result of his vision to create an historicaldocument of these instruments at this point in time.
The violin took on its present form in the 1500s. Andrea Amati (ca.1505âca.1578) is most oftenconsidered to be the father of the âmodernâ violin. Amati worked in Cremona, a city in the Po valleyin what is now northern Italy. Though only a handful of his instruments survive today, it was due tohis success that Cremona became the centre for string instrument making in Italy and home to manyother eminent makers, including members of the Guarneri family, Antonio Stradivari, Carlo Bergonzi,and Amatiâs own descendants: Hieronymus, Antonio, NicolĂČ and Hieronymus II.
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By the early 1700s, violin making was at its peak. The undisputed greatest violin maker of the daywas Antonio Stradivari (1644â1737). Stradivariâs earliest known label makes the claim that he was apupil of NicolĂČ Amati, though many experts today believe that this was simply a bold fabricationmade by the young Stradivari in order to boost his credibility. There can be no question however,that he, like all his contemporaries, was greatly influenced by Amati. By his thirties and forties hewas making instruments for some of the most famous and wealthy families in Europe, including theSpanish Court and the Medici family of Florence. He entered his so-called âgolden periodâ in theearly 1700s (approximately 1709â20, though some experts extend the period back as far as 1703, oreven 1700); it is the instruments from this period that have come to define the prototypical violin.His violins of these years achieved a perfect synthesis of tonal perfection and beauty of design andare coveted by performers and collectors alike.
Giuseppe Guarneri âdel GesĂčâ (1698â1745) was the greatest maker from one of historyâs great violin-making families. His grandfather Andrea Guarneri (1626â1698) began as an apprentice to NicolĂČAmati and produced many magnificent instruments including the viola featured on this recording.Andreaâs two sons, Giuseppe (âfilius Andreaâ, or son of Andrea) and Pietro (âPeter of Mantuaâ) werealso excellent makers; their violins are generally thought to be on an even higher level than those oftheir father. Giuseppe filius Andrea had two sons as well: Pietro (âPeter of Veniceâ) and Giuseppe,whom we know today as âdel GesĂčâ owing to his use of the characters IHS (the Greek abbreviation forJesus) and a cross on his labels. âDel GesĂčâ did not have the fame or the wealth of Stradivari during hislifetime, but is now considered to have been Stradivariâs equal. While Stradivari was makinginstruments for many of Europeâs most wealthy and influential citizens, âdel GesĂčâ is thought to havemade his violins for local musicians. This may account to some degree for the relatively small numberof surviving instruments; there are thought to be approximately 140 violins, and just one cello (anexample bearing his fatherâs label, but clearly showing the work of a young âdel GesĂčâ). In contrast,there are over 600 surviving Stradivari instruments.
Much has been written comparing the violins of Stradivari and Guarneri âdel GesĂčâ. Many of the greatviolinists have enjoyed using examples by both makers (Henryk Wieniawski, Fritz Kreisler, JaschaHeifetz, Yehudi Menuhin, Arthur Grumiaux, Itzhak Perlman), but many others have held a lifelongloyalty to one maker or the other. It was the legendary NiccolĂČ Paganini who brought âdel GesĂčâinstruments the recognition they deserved when he made a 1742 âdel GesĂčâ his primary concertinstrument, though he also owned and played on Stradivaris. There are many misconceptions about
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these instruments and their suitability for concert use. It has become a common notion thatStradivariâs pre-1700 violins are not ideal âconcertâ instruments, a belief that is clearly shown to beincorrect when one has had the opportunity to hear some of the greatest violins from this period.Violins from Stradivariâs âlongâ period (approximately 1692â99 with some notable exceptions) areseen by some to have been an unsuccessful experiment, but some of these violins are among thegreat concert instruments, notable for incredible projection and bold, clear tone. Similarly, there isa perceived superiority to the work of âdel GesĂčâ after 1740. While it is true that many of his mostexceptional violins do come from this period, it cannot be reasonably argued that they are truly ona higher level tonally than some of his finest earlier examples. As for one makerâs âsuperiorityâ overthe other, this is an unanswerable question. Different instruments will appeal to different types ofplayers. It is my opinion that the best violins of each maker have certain advantages over those ofthe other depending on the repertoire, the acoustic in which it is being played, and what the playeris trying to achieve musically. Ultimately, these instruments are tools of expression, and the greatexamples by both makers are virtually limitless in their capabilities; any shortcomings in theperformances coming from these instruments are the fault of the player, not the maker.
1698 Pietro Guarneri (Peter of Mantua) âShapiroâThe instruments of Pietro Guarneri of Mantua (1655â1720) are exceedingly rare. He was a musicianas well as a maker, and it is thought that this double career is one of the reasons that he crafted sofew instruments (there are 42 known violins, one tenor viol and one cello). This violin is of particularinterest due to its beautifully inlaid fleur-de-lys in each corner on both the front and back.
1709 Antonio Stradivari âLa PucelleâThis celebrated violin is one of the best-preserved Stradivaris in existence. Its nickname came aboutwhen the great violin-maker, dealer, and restorer J.B. Vuillaume first saw the violin around 1850 andexclaimed that it was âcomme une pucelle!â (âlike a virgin!â). In other words, the violin had never beenopened since leaving Stradivariâs hands. Vuillaume modernised the instrument, replacing the neck,bassbar, and fittings. The violin has not had any alterations or repairs of any kind done since thistime. It still retains Vuillaumeâs pegs and tailpiece, the latter of which is beautifully carved with theimage of Jeanne dâArc (known in France as âla Pucelle dâOrlĂ©ansâ). This violin has never previouslybeen heard on a recording.
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1713 Antonio Stradivari âBaron dâAssigniesâThis violin is remarkable for its bright, powerful tone and its very fresh state of preservation. Itshows little evidence of hard use, and was, in fact, unknown to modern experts until 1955. DavidFulton is only the third known owner of this violin. One notable aspect of its construction is thethickness of its top; at 2.9 mm, it is a quarter-millimetre thicker than that of any other knownStradivari violin.
1715 Antonio Stradivari âMarsickâI have had the great pleasure of using this violin as my concert instrument since September of 1999.Though the name of the Belgian violinist Martin-Pierre Marsick is attached to this instrument, heonly owned it for one year, acquiring it in 1879 and selling it in 1880. Ownership can be traced fromaround 1870 through the early years of the 20th century. At some point thereafter, the violin wentto the Soviet Union, where it remained until being obtained by the British dealer Peter Biddulpharound 1990. There is another âMarsickâ Strad, an example from 1705 that later became the concertinstrument of David Oistrakh. There is also evidence that Marsick had a 1726 Strad for some timearound the turn of the 20th century.
1715 Antonio Stradivari âBaron KnoopâOne of Stradivariâs most famous instruments, this violin takes its name from the great collectorBaron Johann Knoop (1846â1918), who had one of the great string instrument collections of all time.According to the great British dealer Alfred Hill, this violin was the Baronâs favorite. It is referred toas the âBevanâ (a later owner) in the Hill book on Stradivari, and is specially mentioned to be of âthefirst rankâ. Jascha Heifetz used this violin between December 1936 and January 1938.
1719 Antonio Stradivari âDuke of AlbaâOwnership of this instrument can be traced back to the year 1788, when it was entrusted by theDuke of Alba to Vicenzo Ascensio of Madrid for repairs (there is an inscription by Ascensio stillvisible on the label). Like so many great violins, it ended up with the French dealer Vuillaume around1850, and was subsequently sold to the family of Wilhelm von Booth, a German nobleman, withwhose family it remained until 1911. While in the possession of Otto Booth (the son of Wilhelm)around the turn of the 20th century, the violin resided in South Africa, and was, according to ArthurHill, the only Stradivari in that part of the world at that time.
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1733 Antonio Stradivari âSassoonâThis typical example of Stradivariâs last working period is in a very fresh state of preservation, havingspent most of its known history in the hands of amateur players and collectors. The violin waspurchased in 1892 by the Roussy family (the proprietors of Nestleâs Milk) and remained theirproperty for the next 75 years. For much of this time it seems highly likely that the violin wasvirtually not played at all; from 1924 until 1966 it resided in a vault in London. As is typical withStradivariâs late instruments, the maple of the back, sides and scroll is quite plain in figure, and thevarnish is of a somewhat more brownish hue than that used during his âgolden periodâ.
1737 Giuseppe Guarneri âdel GesĂčâ âKing JosephâThis violin is one of the most superb examples of del GesĂčâs late-middle period, combining greatbeauty of craftsmanship with stunning tone. Its back is in one piece of slab-cut maple, a somewhatunusual feature in the work of âdel GesĂčâ. Reportedly the first âdel GesĂčâ violin to travel to the US, ithas often been considered to be his greatest masterpiece â hence its nickname. Interestingly, it seemsthat this violin was formerly known as the âKingâ Joseph Guarneri, but is now known as the âKingJosephâ Guarneri â perhaps to avoid confusion with a 1735 âdel GesĂčâ that is also known as the âKingâ.
1742 Giuseppe Guarneri âdel GesĂčâ âLord WiltonâThis famous violin was the final concert instrument of Yehudi Menuhin, who acquired it in 1978,though he had performed on it as early as the 1940s. Its condition is virtually flawless, and it hasbeen recognised for many generations as one of the most tonally outstanding of âdel GesĂčâ violins.It was a particular favourite of the Hill family, who featured it prominently in their 1931 book aboutthe Guarneri family of makers.
ca. 1560 Gasparo Bertolotti (Gasparo da SalĂČ)While Andrea Amati was developing the modern violin in Cremona, Gasparo da SalĂČ (1540â1609), asGasparo Bertolotti is commonly known, was making rugged, yet tonally outstanding instruments inBrescia. Violas made by Gasparo da SalĂČ are coveted for their deep, resonant tone, though theirlarge size makes them difficult to play for violists without long arms and fingers. Sadly, many of hisinstruments have been cut down in size over the years in order to be more âpracticalâ for smallerplayers (this was also the fate of most of Stradivariâs early cellos, which were also built on what isnow considered an abnormally large pattern). This instrument retains its original dimensions.Though body length of violas is by no means standardised, this instrumentâs body length of17â 5/8ths is over an inch longer than what is generally considered a âfull-sizedâ viola.
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1676 Andrea Guarneri âCount Vitale, ex LandauâOne of the most acclaimed violas in existence, this is one of only five known violas by this maker.Having been in the hands of amateurs and collectors for 200 years, it is in a practically perfect stateof preservation. It is a rare example of a Cremonese instrument that retains its original neck, thoughit was reset by the famous maker Carlo Mantegazza many years ago for modern usage. A referenceto this instrument is found in the 1 April 1816 diary entry of the collector Count Cozio di Salabue,placing ownership with Count Vitale of Milan, whose initials (S.V.) are branded into the button onthe back. Subsequently in the possession of Sir William Curtis (a Member of Parliament for the Cityof London from 1790 to 1826, and Lord Mayor in 1795), it was reportedly used in chamber-musicreadings with King George IV.
1793 Giuseppe Guadagnini âRollaâGiuseppe Guadagnini (1753â1805) was the son of the distinguished maker J.B. Guadagnini. Like hisfather, he worked in various different cities during his lifetime; this viola was made in Parma. It isbuilt on relatively small dimensions, the length of the body being a mere 15 5/8â.
The pairing of a stringed instrument with the right bow is crucial. It is remarkable what an enormousdifference a particular bow can make to the tone of a violin or viola, and not something that is easilyexplained. A great bow can add depth to the tone of a bright instrument, brighten the tone of amellow instrument, or provide extra clarity and power. However, the pairing of a great bow with agreat violin does not guarantee good results. The wrong combination can stifle the tone of aninstrument or exaggerate a particular quality of its tone past the point of desirability.
The bows used on this recording were made by the two most illustrious names in bow-making:François-Xavier Tourte (1747â1835) and Dominique Peccatte (1810â1874). David Fulton possesses oneof the worldâs great bow collections, and I spent many hours comparing different bows on differentinstruments, trying to find the perfect match. For the nine violins, I used four different bows: aTourte for both âdel GesĂčâ violins, a different Tourte for the âBaron Knoopâ, âPucelleâ, and âDuke ofAlbaâ Stradivaris, yet another Tourte, an early example, for the âSassoonâ Stradivari, and a Peccattefor the âMarsickâ and âBaron dâAssigniesâ Stradivaris and the Pietro Guarneri. I used a different bowfor each of the violas: Tourtes for the Guarneri and the Gasparo da SalĂČ, and a Peccatte for theGuadagnini.
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Choosing repertoire for this project was a special challenge. It was important to me that therecording would be able to stand alone in terms of musical merit, and that it would present aninteresting and enjoyable musical programme regardless of the fact that it features so manydifferent instruments. I also wanted to choose repertoire that highlights special qualities of theindividual violins and violas. Owing to my friendship with David Fulton, I had been able to get toknow each of these violins and violas quite well in the years leading up to the recording. All of theselections on this recording were chosen with a particular instrument in mind, with the idea ofdisplaying some tonal quality of the instrument in question.
The excerpts from Bruchâs Scottish Fantasy and Berliozâs Harold in Italy on the comparison tracks arethose which I have used over the years to try out violins and violas. Covering the entire range of theinstrument, these excerpts provide a quick way of exploring the tonal possibilities of a particularviolin or viola. The difference in tone between instruments is often very subtle indeed, and, ofcourse, the personality of the player will be the most defining element of the sound produced onany violin or viola. Still, I hope the listener will find that each of these magnificent instruments hasa unique, personal voice.
James Ehnes
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The Great Cremonese & Brescian Violin Makers
Plague & famine
1628â1633
Gasparoda SalĂČ
1540â1609
GiovanniPaolo Maggini
c.1581â1632
HieronymusAmati
c.1561â1630
AndreaAmati
1505â1578
AntonioAmati
c.1538â1595
NicolĂČAmati
1596â1684
Hieronymus IIAmati
1649â1740
AntonioStradivari
1644â1737
FrancescoStradivari
1671â1643
OmobonoStradivari
1679â1742
AndreaGuarneri
c.1626â1698
PietroGuarneri
âof Mantuaâ1655â1720
PietroGuarneri
âof Veniceâ1695â1762
GiuseppeGuarneri
âdel GesĂčâ1698â1744
CarloBergonzi
1683â1747
GiuseppeGuarneri
âFilius Andreaeâ1666â1739
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HOMMAGE
LâĂ©volution des instruments de musique sâest faite parallĂšlement Ă celle de la musique elle-mĂȘme Ă travers lâhistoire. Les familles instrumentales â cordes, vents et percussions â sont restĂ©esconstantes, mais les instruments eux-mĂȘmes ont continuellement Ă©voluĂ©. Les flĂ»tes actuelles nâontpas grande relation avec les flĂ»tes jouĂ©es par les Grecs anciens, et Bach aurait Ă©tĂ© Ă©tonnĂ© par lepiano de concert dâaujourdâhui. Mais les instruments Ă cordes sont une exception : les instrumentsles plus convoitĂ©s sont ceux qui ont Ă©tĂ© faits il y a plusieurs centaines dâannĂ©es, dans une petiterĂ©gion du nord de lâItalie, par une poignĂ©e de luthiers lĂ©gendaires.
Nos meilleurs instruments Ă cordes possĂšdent une combinaison parfaite de beautĂ© sonore,dâĂ©tendue de couleurs, de clartĂ© et de puissance. Il nâest pas rare de voir un instrument qui possĂšdeune ou deux de ses qualitĂ©s, mais il est exceptionnel que tous ces Ă©lĂ©ments soient rĂ©unis dans lemĂȘme instrument. Les artisans qui ont fait les instruments prĂ©sentĂ©s dans cet enregistrement ontsignĂ© des violons et des altos qui nâont jamais Ă©tĂ© surpassĂ©s. Pourquoi les instruments Ă cordesont-ils atteint leur apogĂ©e Ă cette Ă©poque particuliĂšre ? Le mystĂšre demeure. Sans doute la seuleexplication raisonnable est-elle que la lutherie nâest pas seulement un artisanat, mais une formedâart. Comme beaucoup de formes dâart, la lutherie a eu son « Ăąge dâor », oĂč de brillants artistes,vivant Ă proximitĂ©, Ă un moment de forte demande, sâinspirĂšrent lâun lâautre pour crĂ©er des Ćuvresdâune grandeur sans Ă©gale.
Au fil des siĂšcles, les instruments de cette Ă©poque ont Ă©tĂ© dispersĂ©s Ă travers le monde. Mais,rĂ©guliĂšrement, des particuliers ont rĂ©uni dâimportantes collections de ces magnifiques violons, altos,violoncelles, offrant lâoccasion unique de les dĂ©couvrir dans un contexte, et permettant auxmusiciens non seulement de les apprĂ©cier individuellement, mais de les comparer et de les opposer.David Fulton a rassemblĂ© lâune des plus belles collections privĂ©es, contenant bon nombre desinstruments Ă cordes les plus renommĂ©s au monde. Cet enregistrement est le fruit de sa volontĂ© decrĂ©er aujourdâhui un document historique sur ces instruments.
Le violon a trouvĂ© sa forme actuelle dans les annĂ©es 1500. On considĂšre souvent Andrea Amati(v.1505âv.1578) comme le pĂšre du violon « moderne ». Amati travailla Ă CrĂ©mone, ville de la vallĂ©edu PĂŽ dans le nord de lâItalie actuelle. Bien que seuls quelques-uns de ses instruments surviventaujourdâhui, câest grĂące Ă son succĂšs que CrĂ©mone est devenue la capitale de la lutherie en Italie et
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la patrie de nombre dâĂ©minents luthiers, dont les membres de la famille Guarneri, Antonio Stradivari,Carlo Bergonzi et les descendants dâAmati lui-mĂȘme : Hieronymus, Antonio, NicolĂČ et Hieronymus II.
DĂšs le dĂ©but des annĂ©es 1700, la lutherie Ă©tait Ă son apogĂ©e. Le plus grand luthier de lâĂ©poque futincontestablement Antonio Stradivari (1644â1737), dit Stradivari. La plus ancienne Ă©tiquette connuede Stradivari affirme quâil fut lâĂ©lĂšve de NicolĂČ Amati, encore que beaucoup dâexperts pensentaujourdâhui que câĂ©tait une invention hardie du jeune luthier pour se rendre plus crĂ©dible. Il ne faitcependant aucun doute que le jeune Stradivari, comme tous ses contemporains, fut fortementinfluencĂ© par Amati. DĂšs la trentaine, il commença Ă signer des instruments pour certaines desfamilles les plus renommĂ©es et les plus fortunĂ©es dâEurope, notamment Ă la cour dâEspagne et pourla famille MĂ©dicis Ă Florence. Son « Ăąge dâor » commença au dĂ©but des annĂ©es 1700 (se situantapproximativement entre 1709 et 1720, encore que certains experts le fassent remonter Ă 1703, voireĂ 1700) ; ce sont les instruments de cette pĂ©riode qui ont dĂ©fini le prototype du violon. Ses violonsde ces annĂ©es parviennent Ă une synthĂšse parfaite entre perfection sonore et beautĂ© de conception,et sont recherchĂ©s tant par les interprĂštes que par les collectionneurs.
Giuseppe Guarneri « del GesĂč » (1698â1745) fut le plus grand facteur de lâune des cĂ©lĂšbres familles deluthiers. Son grand-pĂšre Andrea Guarneri (1626â1698) dĂ©buta comme apprenti de NicolĂČ Amati etproduisit de nombreux instruments magnifiques, dont lâalto prĂ©sentĂ© dans cet enregistrement. Les deuxfils dâAndrea, Giuseppe (« filius Andrea », « fils dâAndrĂ© ») et Pietro (« Pierre de Mantoue »), furentĂ©galement dâexcellents luthiers, dont les violons sont gĂ©nĂ©ralement mĂȘme considĂ©rĂ©s comme supĂ©rieursĂ ceux de leur pĂšre. Giuseppe « filius Andrea » eut lui aussi deux fils : Pietro (« Pierre de Venise ») etGiuseppe, quâon surnomme aujourdâhui « del GesĂč », en raison de la prĂ©sence des caractĂšres IHS(abrĂ©viation grecque pour JĂ©sus) et dâune croix sur ses Ă©tiquettes. « Del GesĂč » ne connut ni la renommĂ©eni la fortune de Stradivari de son vivant, mais il est dĂ©sormais considĂ©rĂ© comme son Ă©gal. Pendant queStradivari faisait des instruments pour bon nombre des EuropĂ©ens les plus riches et les plus influents,« del GesĂč » destinait ses violons, pense-t-on, aux musiciens locaux. Cela pourrait expliquer dans unecertaine mesure le nombre relativement restreint dâinstruments qui survivent ; on estime quâil resteenviron cent quarante violons, et un seul violoncelle (portant lâĂ©tiquette de son pĂšre, mais rĂ©vĂ©lantclairement le travail du jeune « del GesĂč »). En revanche, on connaĂźt plus de six cents Stradivari.
On a souvent comparĂ© les violons de Stradivari et de Guarneri « del GesĂč ». Bon nombre de grandsviolonistes ont eu plaisir Ă utiliser des instruments des deux facteurs (Henryk Wieniawski, FritzKreisler, Jascha Heifetz, Yehudi Menuhin, Arthur Grumiaux, Itzhak Perlman), mais beaucoup dâautres
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sont restĂ©s fidĂšles toute leur vie Ă lâun ou Ă lâautre. Câest le lĂ©gendaire NiccolĂČ Paganini qui apportaaux instruments de « del GesĂč » la reconnaissance quâils mĂ©ritaient lorsquâil fit dâun « del GesĂč » de1742 son principal instrument de concert, mĂȘme sâil possĂ©dait aussi et jouait des Stradivari. Il y abeaucoup dâidĂ©es fausses sur ces instruments et sur leur adĂ©quation au concert. On pense souventque les Stradivari dâavant 1700 ne sont pas des instruments de « concert » idĂ©als â idĂ©emanifestement dĂ©mentie pour peu quâon ait lâoccasion dâentendre certains des plus grands violonsde cette pĂ©riode. Dâaucuns considĂšrent les violons de la pĂ©riode « longue » de Stradivari (1692â1699,environ, avec certaines exceptions notables) comme une expĂ©rience infructueuse, alors que certainsde ces violons sont parmi les plus grands instruments de concert, remarquables pour leur incroyablesonoritĂ© pĂ©nĂ©trante et leur timbre clair et net. De mĂȘme, on prĂȘte une supĂ©rioritĂ© aux instrumentsde « del GesĂč » dâaprĂšs 1740. Sâil est vrai que la plupart de ses violons exceptionnels proviennent decette pĂ©riode, on ne peut raisonnablement affirmer quâils sont vraiment dâun niveau supĂ©rieur, surle plan sonore, Ă certains de ses meilleurs violons antĂ©rieurs. Quant Ă la « supĂ©rioritĂ© » de lâun desluthiers sur lâautre, câest une question qui nâa pas de rĂ©ponse. DiffĂ©rents types de musiciensapprĂ©cieront diffĂ©rents instruments. Ă mon avis, les meilleurs violons de chaque facteur ont certainsavantages sur ceux de lâautre, suivant le rĂ©pertoire, lâacoustique dans laquelle ils sont jouĂ©s, et ceque lâinterprĂšte essaie de faire musicalement. En fin de compte, ces instruments sont des outilsexpressifs, et les grands exemples des deux luthiers sont pratiquement sans limites dans leurscapacitĂ©s ; toutes les insuffisances dans les interprĂ©tations donnĂ©es sur ces instruments sont la fautedu musicien, et non du luthier.
1698 Pietro Guarneri (Pierre de Mantoue) « Shapiro »Les instruments de Pietro Guarneri de Mantoue (1655â1720) sont extrĂȘmement rares. Lui-mĂȘme Ă©taitĂ la fois musicien et luthier, et lâon pense que cette double carriĂšre est lâune des raisons pourlesquelles il fit si peu dâinstruments (on connaĂźt quarante-deux violons, une viole tĂ©nor et unvioloncelle). Ce violon est particuliĂšrement intĂ©ressant du fait de sa belle fleur de lys marquetĂ©edans chaque coin, aussi bien devant quâau dos.
1709 Antonio Stradivari « La Pucelle »Ce cĂ©lĂšbre violon est lâun des Strad les mieux conservĂ©s quâon connaisse. Son surnom lui vint lorsquele grand luthier, marchand et restaurateur J.B. Vuillaume vit le violon pour la premiĂšre fois vers 1850et sâexclama quâil Ă©tait « comme une pucelle ! » Autrement dit, le violon nâavait jamais Ă©tĂ© ouvertdepuis quâil avait quittĂ© les mains de Stradivari. Vuillaume a modernisĂ© lâinstrument, remplaçant le
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manche, la barre et la garniture. Le violon nâa pas subi de modifications ni de rĂ©parations depuiscette Ă©poque. Il conserve toujours les chevilles et le cordier de Vuillaume, ce dernier Ă©tant sculptĂ©dâune belle effigie de Jeanne dâArc (« la Pucelle dâOrlĂ©ans »). Ce violon nâa jusquâĂ maintenant jamaisĂ©tĂ© enregistrĂ©.
1713 Antonio Stradivari « Baron dâAssignies »Ce violon est remarquable pour sa sonoritĂ© brillante et puissante, et pour la fraĂźcheur de son Ă©tat deconservation. Il ne semble guĂšre avoir Ă©tĂ© trĂšs utilisĂ© et Ă©tait inconnu des experts modernes jusquâen1955. David Fulton nâen est que le troisiĂšme propriĂ©taire connu. Lâun des aspects remarquables de safacture est lâĂ©paisseur de sa table, 2,9 mm, soit un quart de millimĂštre de plus que tout autre violonconnu de Stradivari.
1715 Antonio Stradivari « Marsick »Jâai eu le grand plaisir dâutiliser ce violon comme instrument de concert depuis septembre 1999. Bienque le nom du violoniste belge Martin-Pierre Marsick soit attachĂ© Ă cet instrument, il ne lui aappartenu que pendant un an (1879â1880). On peut retracer ses propriĂ©taires dâenviron 1870jusquâaux premiĂšres annĂ©es du XXe siĂšcle. Ă un certain moment ensuite, le violon partit pour lâUnionsoviĂ©tique, oĂč il resta jusquâĂ ce que le marchand britannique Peter Biddulph lâacquiĂšre vers 1990. Ilexiste un autre Strad « Marsick » de 1705, qui fut ensuite lâinstrument de concert de David OĂŻstrakh.Il semble Ă©galement que Marsick ait eu un Strad de 1726 pendant quelque temps au tournant duXXe siĂšcle.
1715 Antonio Stradivari « Baron Knoop »Ce violon, lâun des instruments les plus cĂ©lĂšbres de Stradivari, doit son nom au grand collectionneurque fut le baron Johann Knoop (1846â1918), qui possĂ©dait lâune des plus grands collectionsdâinstruments Ă cordes de tous les temps. DâaprĂšs le grand marchand britannique Alfred Hill, ceviolon Ă©tait le prĂ©fĂ©rĂ© du baron. Il est baptisĂ© « Bevan » (propriĂ©taire ultĂ©rieur) dans le livre de Hillsur Stradivari, spĂ©cialement citĂ© comme un instrument « de premier ordre ». Jascha Heifetz utilisa ceviolon entre dĂ©cembre 1936 et janvier 1938.
1719 Antonio Stradivari « Duc dâAlbe »La provenance de cet instrument peut ĂȘtre retracĂ©e jusquâen 1788, annĂ©e oĂč il fut confiĂ© par le ducdâAlbe Ă Vicenzo Ascensio de Madrid pour rĂ©paration (une inscription dâAscensio est encore visiblesur lâĂ©tiquette). Comme tant de grands violons, il se retrouva chez le marchand français Vuillaume
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vers 1850 et fut ensuite vendu Ă Wilhelm von Booth, un noble allemand dont la famille le gardajusquâen 1911. Alors quâil Ă©tait en la possession dâOtto Booth (le fils de Wilhelm) au tournant duXXe siĂšcle, le violon rĂ©sida en Afrique du Sud, et Ă©tait, selon Arthur Hill, le seul Stradivari dans cetterĂ©gion du monde Ă cette Ă©poque.
1733 Antonio Stradivari « Sassoon »Cet exemple typique de la derniĂšre pĂ©riode de Stradivari est dans un trĂšs bon Ă©tat de conservation,aprĂšs avoir passĂ© lâessentiel de son histoire connue entre les mains de musiciens amateurs et decollectionneurs. Le violon fut achetĂ© en 1892 par la famille Roussy (propriĂ©taire du lait NestlĂ©) etresta en sa possession pendant soixante-quinze ans. Pendant une bonne partie de ce temps, il sembleque le violon nâait pratiquement pas Ă©tĂ© jouĂ© ; de 1924 jusquâen 1966, il sĂ©journa dans un coffre Ă Londres. De maniĂšre typique des instruments tardifs de Stradivari, lâĂ©rable du fond, des Ă©clisses etde la volute est assez simple, et le vernis est dâune teinte un peu plus brune que celui quâil utilisa Ă son « Ăąge dâor ».
1737 Giuseppe Guarneri « del GesĂč » « Roi Joseph »Ce violon est lâun des exemples les plus superbes de la fin de la pĂ©riode mĂ©diane du luthier, alliantune grande beautĂ© de facture Ă une sonoritĂ© stupĂ©fiante. Son fond est fait dâun seul morceaudâĂ©rable sciĂ© sur dosse, trait quelque peu inhabituel dans le travail de « del GesĂč ». Ce violon, quiserait le premier de « del GesĂč » Ă avoir voyagĂ© aux Ătats-Unis, est souvent considĂ©rĂ© comme sonplus grand chef-dâĆuvre â dâoĂč son surnom. Il est intĂ©ressant de noter que ce violon Ă©tait autrefoissurnommĂ© le Joseph Guarneri « Roi », mais quâon lâappelle maintenant Guarneri « Roi Joseph » âpeut-ĂȘtre pour Ă©viter la confusion avec un « del GesĂč » de 1735 qui est Ă©galement surnommĂ© « Roi ».
1742 Giuseppe Guarneri « del GesĂč » « Lord Wilton »Ce cĂ©lĂšbre violon fut le dernier instrument de concert de Yehudi Menuhin, qui lâacquit en 1978, bienquâil lâait jouĂ© dĂšs les annĂ©es 1940. Son Ă©tat est quasi parfait, et il est reconnu depuis de nombreusesgĂ©nĂ©rations comme lâun des « del GesĂč » les plus exceptionnels sur le plan sonore. Il Ă©taitparticuliĂšrement apprĂ©ciĂ© de la famille Hill, qui lui accorda une place importante dans son livre de1931 sur la famille des luthiers.
v.1560 Gasparo Bertolotti (Gasparo da SalĂČ)Tandis quâAndrea Amati dĂ©veloppait le violon moderne Ă CrĂ©mone, Gasparo da SalĂČ (1540â1609),ainsi quâon appelle habituellement Gasparo Bertolotti, faisait des instruments robustes, mais
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exceptionnels sur le plan sonore, Ă Brescia. Les altos de Gasparo da SalĂČ sont convoitĂ©s pour leurtimbre profond et rĂ©sonant, encore que leurs grandes dimensions les rendent difficiles Ă jouer pourles altistes qui nâont pas de longs bras et de longs doigts. Malheureusement, beaucoup de sesinstruments ont Ă©tĂ© rĂ©duits en taille au fil des ans pour ĂȘtre plus « pratiques » Ă jouer (ce futĂ©galement le sort de la plupart des premiers violoncelles de Stradivari, dont les dimensions sontmaintenant considĂ©rĂ©es comme anormalement grandes). Cet instrument conserve ses dimensionsoriginales. Bien que la longueur du corps de lâalto ne soit nullement standardisĂ©e, celui-ci, avec 44,8 cm, est prĂšs de 3 cm plus long que ce que lâon considĂšre gĂ©nĂ©ralement comme un alto « entier ».
1676 Andrea Guarneri « Comte Vitale, ex Landau »Cet alto, lâun des plus cĂ©lĂšbres au monde, est lâun des cinq altos connus de ce luthier. Ayant Ă©tĂ© entreles mains dâamateurs et de collectionneurs pendant deux cents ans, il est dans un Ă©tat de conservationpresque parfait. Câest un exemple rare dâun instrument crĂ©monais qui conserve son manche dâorigine,encore que celui-ci ait Ă©tĂ© repositionnĂ© par le cĂ©lĂšbre luthier Carlo Mantegazza il y a de nombreusesannĂ©es pour usage moderne. On trouve une rĂ©fĂ©rence Ă cet instrument dans le journal dâuncollectionneur, le comte Cozio di Salabue, Ă la date du 1er avril 1816, qui dit quâil appartient au comteVitale de Milan, dont les initiales (S.V.) sont gravĂ©es sur le talon. Ayant appartenu ensuite Ă Sir WilliamCurtis (membre du parlement de Londres de 1790 Ă 1826, et lord-maire en 1795), il aurait Ă©tĂ© utilisĂ©pour des sĂ©ances de musique de chambre avec le roi Georges IV.
1793 Giuseppe Guadagnini « Rolla »Giuseppe Guadagnini (1753â1805) Ă©tait le fils de lâĂ©minent luthier J.B. Guadagnini. Comme son pĂšre,il travailla dans diffĂ©rentes villes ; cet alto a Ă©tĂ© fait Ă Parme. Il est de dimensions relativementpetites, avec un corps de 39,7 cm seulement.
Il est crucial dâassocier le bon archet Ă un instrument Ă cordes. La diffĂ©rence quâun archet particulierpeut produire pour la sonoritĂ© dâun violon ou dâun alto est Ă©tonnante, et difficile Ă expliquer. Ungrand archet peut ajouter de la profondeur Ă un instrument brillant, Ă©claircir la sonoritĂ© dâuninstrument moelleux, ou apporter davantage de clartĂ© et de puissance. Lâassociation dâun grandarchet et dâun grand violon nâest cependant pas la garantie de bons rĂ©sultats. Une mauvaisecombinaison peut Ă©touffer la sonoritĂ© dâun instrument ou exagĂ©rer une qualitĂ© particuliĂšre plus quâilnâest souhaitable.
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Les archets utilisĂ©s pour cet enregistrement ont Ă©tĂ© faits par les deux archetiers les plus illustres :François-Xavier Tourte (1747â1835) et Dominique Peccatte (1810â1874). David Fulton possĂšde lâunedes plus grandes collections dâarchets au monde, et jâai passĂ© de longues heures Ă comparerdiffĂ©rents archets sur diffĂ©rents instruments, essayant de trouver lâalliance parfaite. Pour les neufviolons, jâai utilisĂ© quatre archets diffĂ©rents : un Tourte pour les deux violons « del GesĂč », un autreTourte pour les Stradivari « Baron Knoop », « Pucelle » et « Duc dâAlbe », un autre Tourte encore, deses dĂ©buts, pour le Stradivari « Sassoon », et un Peccatte pour les Stradivari « Marsick » et « BarondâAssignies » ainsi que le Pietro Guarneri. Jâai utilisĂ© un archet diffĂ©rent pour chacun des altos : desTourte pour le Guarneri et le Gasparo da SalĂČ, et un Peccatte pour le Guadagnini.
Choisir le rĂ©pertoire pour ce projet reprĂ©sentait un dĂ©fi particulier. Il Ă©tait important pour moi quelâenregistrement tienne debout sur le seul plan du mĂ©rite musical et quâil propose un programmeintĂ©ressant et agrĂ©able indĂ©pendamment du fait quâil rĂ©unisse tant dâinstruments diffĂ©rents. Jevoulais Ă©galement choisir un rĂ©pertoire qui mette en valeur les qualitĂ©s spĂ©ciales des violons et altosindividuels. GrĂące Ă mon amitiĂ© avec David Fulton, jâai pu apprendre Ă connaĂźtre assez bien chacunde ces violons et de ces altos au fil des annĂ©es qui ont dĂ©bouchĂ© sur lâenregistrement. Toutes lespiĂšces de cet enregistrement ont Ă©tĂ© choisies en vue dâun instrument particulier, dans lâidĂ©e demettre en valeur une qualitĂ© sonore de lâinstrument en question.
Les extraits de la Fantaisie Ă©cossaise de Bruch et de Harold en Italie de Berlioz sur les plagescomparatives sont ceux que jâai utilisĂ©s au fil des ans pour essayer violons et altos. Couvrant toutelâĂ©tendue de lâinstrument, ces extraits sont un moyen rapide dâexplorer les possibilitĂ©s sonores dâunviolon ou dâun alto donnĂ©. La diffĂ©rence de timbre entre deux instruments est souvent trĂšs subtile,et, bien sĂ»r, la personnalitĂ© de lâinterprĂšte est lâĂ©lĂ©ment le plus dĂ©terminant pour la sonoritĂ©produite par nâimporte quel violon ou alto. NĂ©anmoins, jâespĂšre que lâauditeur verra que chacun deces magnifiques instruments a une voix unique et personnelle.
James EhnesTraduction : Dennis Collins
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Violinist James Ehnes is widely considered one of the most dynamic and exciting performers inclassical music. He has performed in over 25 countries on five continents, appearing with many ofthe worldâs most well-known orchestras and conductors.
Ehnesâs extensive discography of over 20 recordings features repertoire ranging from Bach violinsonatas to John Adamsâs Road Movies. His recordings have been honoured with many internationalawards and prizes, including a Grammy, a Gramophone and five Juno awards.
Born in 1976 in Brandon, Manitoba, Canada, he began violin studies at the age of four, and at ninebecame a protégé of the noted Canadian violinist Francis Chaplin. For several summers he studiedwith Sally Thomas at the Meadowmount School of Music, continuing his studies with her in 1993 atthe Juilliard School. He graduated from Julliard in 1997, winning the Peter Mennin Prize forOutstanding Achievement and Leadership in Music. In October 2005, James was honoured byBrandon University with a Doctor of Music degree (honoris causa) and in July 2007 he became theyoungest person ever elected as a Fellow to the Royal Society of Canada.
James Ehnes plays the âEx Marsickâ Stradivari of 1715 and gratefully acknowledges its extended loanfrom the Fulton Collection. He currently lives in Bradenton, Florida with his wife Kate.
Le violoniste James Ehnes est considĂ©rĂ© par beaucoup comme une des plus dynamiques etpassionnantes cĂ©lĂ©britĂ©s mondiales dans le domaine de la musique classique. Il sâest produit dansplus de 25 pays sur cinq continents, avec pour ainsi dire tous les orchestres et les chefs les plusrĂ©putĂ©s.
La vaste discographie de James Ehnes de plus de 20 disques sâĂ©chelonne, pour le rĂ©pertoire, dessonates pour violon de Bach aux Road Movies de John Adams. Ses enregistrements se sont distinguĂ©spar des prix internationaux, incluant les prix Grammy, Gramophone et cinq prix Juno.
NĂ© Ă Brandon (Manitoba), au Canada, en 1976, il commence Ă Ă©tudier le violon Ă lâĂąge de quatre ans ;Ă neuf ans, il devient lâĂ©lĂšve du cĂ©lĂšbre violoniste canadien Francis Chaplin. Il poursuit ses Ă©tudesavec Sally Thomas Ă la Meadowmount School of Music et Ă la Juilliard School et, aprĂšs avoir obtenuson diplĂŽme en 1997, il remporte le prix Peter Mennin pour une rĂ©ussite et une prĂ©Ă©minenceexceptionnelles dans le domaine de la musique. Il a obtenu la prestigieuse bourse de carriĂšre AveryFisher, est le rĂ©cipiendaire dâun doctorat honorifique de lâUniversitĂ© de Brandon et, en 2007, il devintla plus jeune personne Ă ĂȘtre Ă©lue « fellow » de la SociĂ©tĂ© royale du Canada.
James Ehnes joue sur un Stradivari « Ex Marsick » de 1715, et tient Ă exprimer sa profondereconnaissance Ă la Fulton Collection pour le prĂȘt Ă long terme de cet instrument.
www.jamesehnes.com
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Born in Laredo, Texas in 1964, Eduard Laurel began his musical studies on the trumpet at the age ofeight, and his piano studies at age ten. He attended both the Southwest Texas State University andthe University of Texas at Austin, where he studied with the noted accompanist David Garvey andwas a protégé of Gerard Souzay.
At Mr Garveyâs invitation, he began a 15-year association with the Meadowmount School of Music,Ivan Galamianâs summer school for strings in upstate New York, where he played in the classes ofJoseph Gingold, Joseph Silverstein, Yo-Yo Ma, Ulf Hoelscher and Sally Thomas, among many others.He moved to New York City in 1989 to study at the Manhattan School of Music with SolomonMikowsky and Fiorella Canin.
Mr Laurel has concertised extensively with artists such as Boris Belkin, Christine Walevska, and JamesEhnes, in over a dozen countries on four continents. In Reyjavik, it was noted that he âlacked nothing,in tone, technique and temperamentâ and Strad Magazine has praised his âsuperb pianism, unerringin balance and ensembleâ. He is currently on staff at the Juilliard School and Mannes College.
NĂ© en 1964 Ă Laredo au Texas, Eduard Laurel a dĂ©butĂ© ses Ă©tudes musicales Ă la trompette Ă lâĂągede huit ans, et au piano Ă dix ans. Il a Ă©tudiĂ© Ă la Southwest Texas State University et Ă lâUniversitĂ©du Texas Ă Austin. Ă cette derniĂšre, il est devenu le protĂ©gĂ© du pianiste new-yorkais de renom DavidGarvey et a Ă©tĂ© lâaccompagnateur presque exclusif de la classe de GĂ©rard Souzay.
Sur lâinvitation de M. Garvey, Eduard Laurel a entrepris une collaboration qui devait durer quinze ansavec Meadowmount, lâĂ©cole dâĂ©tĂ© pour cordes dâIvan Galamian dans le nord de lâĂtat de New York,oĂč il a jouĂ© dans les classes de Joseph Gingold, Joseph Silverstein, Yo-Yo Ma, Ulf Hoelscher et SallyThomas, parmi tant dâautres. Il sâest Ă©tabli Ă New York en 1989 afin dâĂ©tudier au Manhattan Schoolof Music avec Solomon Mikowsky et Fiorella Canin. Il remporta le concours de cette institution ety joua le concerto de Schoenberg.
Ă New York, il sâest distinguĂ© en accompagnant Boris Belkin, Christine Walevska et James Ehnes. Il ajouĂ© en concert sur quatre continents, recueillant partout lâĂ©loge des critiques. Il enseigne Ă Juilliardet au Mannes College of Music.
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John Forsen lives and breathes media technology. A northwest native, he has more than 25 years ofexperience as a film/video producer, director and editor. John started producing documentaries in1983 working with PBS. He then moved over to KIRO TV CBS for seven years making documentaries,commercials, TV shows, corporate films and PSAs. In 1991 he founded MagicHour Films and after 15years sold it, to pursue personal projects. He chairs the Washington Media Producers Council, is onthe City of Seattle Mayorâs film advisory council, owns the production company Fidget.tv and is apartner in the NW movie studio, Decathlon Films, with Rick Stevenson. John has served as aproducer/director on national and international commercials, high-profile Fortune 200 corporatefilms, promotional films, documentaries, multi-camera live TV events, multiple TV shows, pilots andfeature motion pictures. In 2005 he finished producing the film Expiration Date, which has wonmultiple film festival âbest of showsâ. Johnâs drive and dedication has earned him numerous awards,including eight Emmys, a bunch of Chicago and New York Film Festivals gold awards, a gold lionfrom the Cannes Film Festival and the appreciation of his wife and family.
John Forsen vit et respire la technologie des mĂ©dias. NĂ© dans le nord-ouest des Ătats-Unis, il a plusde vingt-cinq annĂ©es dâexpĂ©rience dans la production, la rĂ©alisation et le montage de films et devidĂ©os. John Forsen commence Ă produire des documentaires en 1983, travaillant pour PBS. Il passeensuite Ă KIRO TV CBS pendant sept ans, signant des documentaires, des publicitĂ©s, des Ă©missions detĂ©lĂ©vision, des films dâentreprise et des campagnes dâintĂ©rĂȘt public. En 1991, il fonde MagicHourFilms, quâil revend au bout de quinze ans pour rĂ©aliser ses projets personnels. Il prĂ©side leWashington Media Producers Council et fait partie de la commission consultative pour le film dumaire de Seattle. Il possĂšde la maison de production Fidget.tv et est lâassociĂ© de Rick Stevenson ausein de Decathlon Films, studio cinĂ©matographique du nord-ouest du pays. John Forsen a signĂ©comme producteur/rĂ©alisateur des publicitĂ©s nationales et internationales, des films dâentrepriseprestigieux (pour Fortune 200), des films promotionnels, des documentaires, des retransmissionstĂ©lĂ©visĂ©es en direct, de multiples Ă©missions de tĂ©lĂ©vision, des pilotes et des longs mĂ©trages. En 2005,il termine de produire le film Expiration Date, qui remporte de nombreux prix dans les festivals. Ledynamisme et le dĂ©vouement de John lui ont valu de nombreuses rĂ©compenses, dont huit Emmys,plusieurs mĂ©dailles dâor des festivals du film de Chicago et de New York, un lion dâor du festival deCannes, outre lâapprobation de son Ă©pouse et de sa famille.
www.fidget.tv
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The best thing about being concert master of the University of Chicago Symphony Orchestra,according to David Fulton, was that the quarterly stipend that came with the position allowed himto quit his job washing dishes in the basement of one of the dormitories. (Such is the uplifting powerof music.) But the lasting impact of this experience was to kindle a lifelong love of music, violins and violinists.
After graduation from Chicago and a brief stint working for an insurance company, interrupted byservice in the Air Force, Mr Fulton studied mathematical statistics at the University of Connecticut,where he received his PhD in 1970. During this period he performed professionally with the HartfordSymphony Orchestra as a violinist. He then founded the Department of Computer Science at BowlingGreen State University, serving as professor and department chair for ten years. While there, he co-founded Fox Software, a company best known for its database management application, FoxPro.Following the sale of Fox Software to Microsoft in 1992, Mr Fulton served as Microsoftâs VicePresident for Database Products until his retirement in 1994. Since then he has pursued his lifeâspassions, including playing chamber music, patronising and encouraging musicians and musicalorganisations, and of course, assembling one of the worldâs great collections of stringed instruments.
Le plus grand avantage Ă ĂȘtre premier violon dans lâOrchestre symphonique de lâUniversitĂ© deChicago, selon David Fulton, fut que le traitement trimestriel qui accompagnait cette fonction luipermit de quitter son emploi de plongeur dans le sous-sol de lâun des dortoirs. (La force de lamusique rĂ©chauffe le cĆur !) Mais lâeffet durable de cette expĂ©rience fut dâaviver pour la vie lapassion de la musique, des violons et des violonistes.
AprĂšs ses Ă©tudes Ă Chicago et un bref passage dans une compagnie dâassurances, interrompu par sonservice militaire dans lâarmĂ©e de lâair, David Fulton Ă©tudie les statistiques mathĂ©matiques Ă lâuniversitĂ© du Connecticut, oĂč il reçoit son doctorat en 1970. Au cours de cette pĂ©riode, il jouecomme violoniste professionnel avec le Hartford Symphony Orchestra. Il fonde ensuite ledĂ©partement dâinformatique de Bowling Green State University, travaillant comme professeur etprĂ©sident du dĂ©partement pendant dix ans. Câest Ă cette Ă©poque quâil co-fonde Fox Software, unefirme connue surtout pour son gestionnaire de bases de donnĂ©es, FoxPro. AprĂšs la vente de FoxSoftware Ă Microsoft en 1992, David Fulton travaille pour Microsoft comme vice-prĂ©sident desapplications de bases de donnĂ©es jusquâĂ sa retraite en 1994. Depuis lors, il cultive les passions de savie, jouant de la musique de chambre, soutenant et encourageant les musiciens et les organismesmusicaux, et, bien sĂ»r, rĂ©unissant lâune des plus grandes collections au monde dâinstruments Ă cordes.
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Recording location Fulton Performing Arts Center, Overlake School,Redmond, Washington, 1â3 April 2007
Audio producer and engineer Tim MartynAudio assistant Al SwansonAudio mixer Carl TalbotAudio coordinator Simon James
Facilities Bill JohnsProducer/Director John ForsenDirector of photography Bruce Worrall CACGaffer Jim HicksAssistant cameraman Bob WebeckCamera operators Bruce Worrall
Mike JensenTJ WilliamsJohn Forsen
Video editor John EdwardsAdditional photography Mark Fulton
Piano tuner Meade CraneViolin and viola preparation John Becker
Executive producer for ONYX Paul MoseleyProject coordination and promotion Moira Johnson ConsultingPhotos of James Ehnes Ben EalovegaPhotos of David Fulton and all instruments Courtesy David FultonDesign WLP
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Also on ONYX from James Ehnes:
ONYX4016 Barber/Korngold/WaltonViolin ConcertosVancouver Symphony OrchestraBramwell ToveyGrammy and Juno Award Winner 2008(on CBC Records in the US and Canada)
ONYX4025 Elgar: ViolinConcerto/Serenade for StringsPhilharmonia OrchestraSir Andrew DavisGramophone Concerto Award 2008
Booklet front and back from left to right:Violins: Shapiro, La Pucelle, Baron dâAssignies, Baron Knoop, Marsick, Duke of Alba, Sassoon, King Joseph, Lord WiltonViolas: Gasparo, Guarneri, Guadagnini
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www.onyxclassics.comONYX 4038