EXHIBITION - Philharmonie de Paris · reference, transcending all cultural and geographical borders. As early as the 1960s, as record sales were expanding, Beethoven embarked upon

PR ESS K I T

John

Bal

dess

ari,

Bee

thov

en’s

trum

pet (

with

Ear

), op

us 1

31, 2

007,

Los

Ang

eles

Cou

nty

Mus

eum

of

Art

, Gift

of

Mar

go L

eavi

n ©

Cou

rtes

y of

John

Bal

dess

ari

E X H I B I T I O N

1 4 O C T O B E R 2 0 1 6

2 9 J A N U A R Y 2 0 1 7

PHILHARMONIEDEPARIS.FR

+33(0)1 44 84 44 84

2

FOREWORD

Following its recent exhibitions dedicated to figures as diverse as David Bowie, Pierre Boulez and Marc Chagall, the Philharmonie de Paris now offers us a new perspective on one of the key figures in the European and international music world: the composer Ludwig van Beethoven. But the exhibition is not just confined to the composer’s works, the iconic, time-venerated symphonies, piano sonatas and string quartets and other pieces forming the regular repertoire of the Philharmonie de Paris. The stature of the composer extends far beyond the realms of classical music. Still present in so many and varied artistic forms, Beethoven transports us into a world of popular and intellectual, political and artistic imagination, a mirror in which our humanity is constantly reflected.

The Beethoven “myth” crosses all artistic genres, extending beyond cultural and geographical boundaries and, at the same time, it is the sign of a tradition and the symbol of these ever-changing modern times. Times where homage and veneration meet reinvention and pastiche, where blind adoration can turn to irony and derision. There are, of course, other coveted composers. Bach and Wagner, for instance, inspire similar adulation and fascination. But it is his universality, the many interpretations that he has inspired throughout history and his ability to emerge “dignified” from all the reworkings, not always convincing, of his music or image, which makes him a unique example in the history of art.

It is precisely thanks to this stylistic diversity, combining music with the “traditional” arts of, say, painting and sculpture, or with the modern creative industries, such as cinema and advertising, that such an exhibition has been made possible. While the focus of the exhibition is maintained on Beethoven’s music and life, we set out to show how, even at the time of his death in 1827, or even before this tragic event, the “Ludwig van” myth never ceases to carve its name into the artistic, political, social and religious landscape.

The exhibition is, first and foremost, the result of an in-depth reflection on the part of curators Marie-Pauline Martin and Colin Lemoine. We should like to extend our thanks for their commitment, innovativeness and professionalism in the implementation of this project. Likewise, their ideas could never have come to fruition without the support of several partners and lenders, among whom we thank, in particular, the Beethoven-Haus (Bonn), the Gesellschaft der Musikfreunde (Vienna) and the Biblioteca Beethoveniana (Muggia). Without their help, many unique documents, including the composer’s manuscripts, could never have been presented. In addition to their kind loans, some highly productive talks with their representatives led to more deepened insights and rich exchanges with many other institutions, lenders and experts, to whom we should also like to express our gratitude. Finally, the staging of the exhibition is, in itself, a collaborative work, uniting staff at the Philharmonie, especially those at the Musée de la Musique, and outside partners chosen for their specific skills, whom we should also like to acknowledge with thanks.

From Gustav Klimt to Joseph Beuys, André Gide to Michael Haneke, Edward Burne-Jones to Antoine Bourdelle, John Baldessari, Stanley Kubrick and Pierre Henry, the ghost of Beethoven has continued to haunt artists and fulfil its purpose: to electrify the eye, the ear and the mind. We trust that visitors to this exhibition will have that same experience.

Laurent BayleDirector General

of the Cité de la musique-Philharmonie de Paris

Eric de VisscherDirector of the Musée de la Musique

John Baldessari

Markus Luepertz, Beethoven, 2010-2011, Munich, Soura Art Gallery © ADAGP

3

ELECTRIFYING THE EYE AND THE EAR: A JOURNEY OF SIGHTS AND SOUNDSHeroic dramatizations, intimate portraits, bombastic sculptures, performances, advertisements, death masks, relics, cinema works, propaganda posters, architectural models and contemporary installations: over 250 visual and acoustic works pay tribute to the prodigiousness and fertile imaginativeness engendered by Beethoven. The visual path through the exhibition is accompanied by a rich soundtrack of excerpts from the extraordinary musical legacy he has inspired, from Schumann’s Fantaisie in C opus 17, to Pierre Henry’s remix of Beethoven’s Tenth Symphony, not to mention certain examples from current and popular music, especially the experimental works of today’s electro artists.

1827 TO THE PRESENT: A THEMED JOURNEYThe history of Beethoven’s extraordinary legacy began on the day of his death, 26 March 1827, a day of sorrow and mourning shared throughout Europe. That date marks the start of the exhibition, which then proceeds to examine the composer’s extraordinary metamorphoses spanning a creative life of nearly two centuries through to the present day, with a comparative look at testimonials from the past and present. The exhibition is structured around major themes exploring the different facets of the myth. Declared an Immortal being on his death, Beethoven was then proclaimed, in turn, a Prophet, a model of the Visionary artist and Tragic Hero, a political spokesman and the monumental embodiment of the Grand Homme, before providing the purely formal subject matter for many contemporary creations.Within these broad themes, several rooms explore a few pages in the Beethoven history book: the transformation of his body into relics; the sight and sound experience where one can recreate the Pastoral Symphony; the cinema’s fascination with Beethoven with its numerous adaptations of his life; the 1902 tribute paid to Beethoven by the Secessionists formed around Klimt; and the extravagant celebrations surrounding the bicentenary of his birth in 1970.

CONTEMPORARY RAMIFICATIONSSpanning nearly two centuries of creativity, the exhibition also presents an opportunity to compare and contrast the myth with the many contemporary creations that Beethoven has inspired in the present day (John Baldessari, Jan Fabre, Soulwax, Nicolas Bacri). Several artists’ works were commissioned: specifically created for the exhibition, the audio-visual works of Macha Makeïeff and the works of the famous photographer Oliviero Toscani, pay tribute to the current force of the Beethoven myth. The route is also punctuated by three rooms given over to immersive audio-visual installations inviting visitors to indulge in a unique sensory exploration of the exhibition’s theme.

A LITERARY MYTH: A SOUND TRIBUTE BY BEETHOVEN’S FOLLOWERSFrom Victor Hugo to André Gide, Le Corbusier to Anthony Burgess, the literature spawned by Beethoven is still as vast and diverse. This exhibition includes a wealth of literary extracts (novels, correspondence, essays, critiques) narrated in the audioguide by the actor, Thomas Morris. The story of Beethoven’s rich legacy is therefore retold with great poetry and eloquence by the writers and followers themselves.

ADDRESSING THE DISTORTIONS OF HISTORY

The wealth of artistic commentary prompted by Beethoven, albeit largely imagined, is nevertheless based on some factual clues we have about his life or work. Each part of the exhibition therefore includes a selection of historical documents (correspondence, short stories, scores, etc.), enabling the visitor to assess firstly, where the veracity ends or the distortion begins regarding the real life story of Beethoven and, secondly, what he

has since come to mean in the collective imagination.

WHY BEETHOVEN?Beethoven is by no means the only prodigal composer since the 19th century to be cherished, adulated or emulated in the works of modern-day artists. Many artists, such as Paul Klee, found in the contrapuntal work of Bach a key to new combinations of colours and shapes; while the fascination for Wagner inspired an entire new movement termed “Wagnerism”, one that heralded the artistic avant-garde and a more philosophical approach to history… Beethoven’s legacy in itself also participates in the same desire to make a connection between the authority of a remarkable figure and the innovations of the present day, but with one notable difference: his human dimension and even, in the noble sense of the term, his popular vision, both manage to connect with individual and collective aspirations across nearly all cultures and societies in the world.

A UNIQUE EXHIBITIONBeethoven’s legacy has naturally encouraged many an in-depth study, with themes ranging from public reception of a particular work throughout history (Esteban Buch, 1999), to countless recreated portraits of the composer (Silke Bettermann, 2012). But nothing to date has managed to express the prodigious and diverse nature of Beethoven’s legacy as man, icon and myth, idol, ideology and inspiration.

Marie-Pauline MartinColin Lemoine

Exhibition curators

OVERVIEW OF EXHIBITION

4

MUSIC AT THE HEART OF THE EXHIBITION

For the visitor to become immersed in Beethoven’s oeuvre, music is given a high profile throughout the exhibition. The works of Beethoven are played in the different rooms through directional speakers with pick-ups arranged in front of the works of art to which they refer.

An audioguide with personal headphones is handed out free of charge to all visitors at the start of the exhibition. This system allows them to:

• Listen to the composer’s pieces directly linked to the visual works or documents on display,

• Listen to the musical works of artists inspired by Beethoven and compared to visual artworks,

• Hear the testimonials of Beethoven’s admirers (writers, philosophers, artists, etc),

• Hear the acoustic journey created for children.

A detailed description of the acoustic journey may be found in the press space on the Philharmonie website:

philharmoniedeparis.fr/presse

Carl Schweninger (1854–1912), Beethoven in a stormy landscape, third quarter of the 19th century, colour litho pasted on cardboard, Paris, Musée de la Musique © Musée de la musique/Jean-Marc Anglès

5

THE VISITOR ROUTE

ROOM 1The omnipresence of an icon:devotion or dilution?

ROOM 21827: from death to immortality

ROOM 3The composer as prophet

ROOM 4The listening cinema

ROOM 5Tragic faces and interior worlds

ROOM 6Political destinies

ROOM 7Monuments:the immortal body of Beethoven

ROOM 8Resurrecting Beethoven: a formal challenge

Entrance

VISITOR ROUTE FOR KIDSA free guide for children aged 8 years and aboveYounger visitors can discover the exhibition in a unique and fun way with an audioguide and a game booklet. The sound and vision experience allows kids to explore the exhibition on their own. Kids are taken on a fun acoustic journey, starting with Ludwig van Beethoven doing a time jump into the 21st century. The illustrated game booklet is full of playful activities, puzzles and challenges to help kids understand what makes a genius…

ROOM 4�e listening cinema

ROOM 3 - �e composer as prophet

ROOM 2 1827: from death to immortality

ROOM 1�e omnipresence of an icon: devotion or dilution?

ROOM 5Tragic faces and interior worlds

ROOM 8Resurrecting Beethoven: a formal challeng

ROOM 7 - Monuments:the immortal body of Beethoven

ROOM 6Political destinies

6

ROOM 1

THE OMNIPRESENCE OF AN ICON:DEVOTION OR DILUTION?Beethoven’s presence extends far beyond the bounds of serious culture. Like the major political or popular icons, he has become a key reference, transcending all cultural and geographical borders. As early as the 1960s, as record sales were expanding, Beethoven embarked upon a worldwide career, from Gabon to Japan, and China to the United States, soon to be hijacked by the consumer industry.

Fascinating yet ambivalent, the race to capture more diversified audiences is an expression of the artistic fraternity’s desire to bring people together. But is it not the essence of the “icon” to stand out from the original? All that remains bequeathed to us of Beethoven is a caricature, an extraordinary illness (his deafness) and a few iconic melodies. His extraordinary influence raises both the question of his undeniable genius and that of the risk of his alienation. What have we done to Beethoven?

Five thousand choir singers, conducted by Yutaka Sado, in a rendition of the Ninth Symphony in the Kokugikan sumo hall (Tokyo, 2006), DR.

Pierre Desproges and Jean-Louis Fournier, “Let’s guess Beethoven’s IQ”, La Minute nécessaire de Monsieur Cyclopède, 1983

Advert for AMPM drink dispensers, 2014, United States © AMPM, DR

7

ROOM 2

1827: FROM DEATH TO IMMORTALITY

26 March 1827, 5.45 p.m. After protracted agony, Beethoven dies in his apartment at the Schwarzspanierhaus in Vienna, surrounded by a few members of his family. Their intriguing, often fascinating, tales and the sketches of his body express the full extent of the drama attendant upon the scene. At the same time, articles in the European press, very quick to cover the pomp and circumstance of his funeral, seemed to be saying: Beethoven is not dead. Indeed, Beethoven, his work and his image had already embarked upon a long cycle of metamorphoses, thereby securing the composer’s largely posthumous future.

The tremendous wealth of masks taken of the composer, during his lifetime and upon his death, has contributed to his apotheosis. For nearly two centuries, they provided the vivid subject matter for numerous reproductions of his image, in painting or relief, dramatized or exploited in other ways. In addition to paying homage, the constantly changing masks have made Beethoven immortal.

Franz Xaver Stoeber, Beethoven’s funeral, 1827, watercolour on paper, Bonn, Beethoven-Haus © Bonn, Beethoven-Haus.

Film by Abel Gance, Beethoven’s great love, 1936 © Editions René Château Joseph Benjamin-Constant, Beethoven’s Mask, 1887, oil on canvas, Toulouse, Musée des Augustins. © Musée des Augustins, Toulouse, photograph by Daniel Martin

8

ROOM 3

THE COMPOSER AS PROPHET

Developing in the spirit of the Enlightenment, then subsequently growing in importance in the 19th century, the cult of Great Men redefined the intellectual status of the artist and the nature of his “genius”. Aside from the power to create, the artist now enjoyed another attribute, traditionally reserved for gods and divine beings: the ability to delight the senses, possess the soul and control its impulses. In other words, the ability to inspire.In the way that he is represented and his life depicted, Beethoven is a receiver of this “divine” gift. In the 1830s, the composer had already become instilled in the collective imagination as a prophet, his life had become a “golden legend”, his cult a religion. At the same time, listening to his music was often tantamount to a divine experience. Genuine examples of “absolute music”, his nine symphonies transport and inspire us. To the present day, the mystical aura surrounding Beethoven expresses that which escapes reason: his exceptional humanity, the elevated status of his vocation, the visionary modernity of his works.

THE INNER EARThe ear trumpet:a bone conduction hearing aid The myth that grew up around Beethoven’s legendary deafness contributed greatly to the composer’s idol status. By becoming deaf, Beethoven was thought to have received the unique privilege of being able to hear Heaven’s harmonies, or even of hearing God’s voice, according to Antoine Bourdelle.This somewhat lyrical acoustic creation by Samuel Aden, is a bone conduction hearing aid, an experiment, like Beethoven’s own, to find another form of hearing in order to emulate the divine gift of clairaudience. The making of this device was possible thanks to the support of the Gecina foundation and the Fonds Handicap et Société.

Vassily Kandinsky (1866-1944), Punkt und Linie zu Flaeche, Bauhausbuecher), first edition published in 1926, Neuilly-sur-Seine, Nina Kandinsky, 1955

Lionello Balestrieri (1872-1958), Beethoven, 1900, oil on canvas, 202 x 420 cm, Civico Museo Revoltella, Galleria di Arte Moderna © Civico Museo Revoltella, Galleria di Arte Moderna, Trieste

9

ROOM 3, CONTINUED

OBJECTS OF OBSESSION AND RELICS

As early as the 19th century, at a time when the cult of art was promulgating a romantic celebration of the artist, Beethoven became the subject of a sacred cult. The cult very quickly developed around his everyday objects, instruments and equipment, and even the fragments of his remains, which underwent three burials (in Waehring cemetery in 1827 and in 1863, and then again in 1888 in Vienna’s Zentralfriedhof). These closely guarded objects soon became relics and subsequently a part of the national heritage, now jealously preserved.

At the same time, Beethoven’s private residences in Bonn and Vienna became holy places for the ensuing flocks of pilgrims, inquisitive folk or those simply wishing to pay homage. They all came to discover the deceased genius, to breathe in his presence, as if vapour. Carl Moll, Joseph Beuys and other artists finally ventured into these symbolic sites-cum-projection spaces, sometimes perpetuating, and sometimes even defying, an almost fetishistic obsession in the process.

OBJECTS OF OBSESSION AND RELICS

ViolonetcuillerdeBeethoven,instrumentacoustique,etboîtereliquaireaveccheveuxdeBethovenetcerti5icatd’authenticitéBonn,Beethoven-HausetVienne,Gesellschaftder

Musikfreunde

Johann Nepomuk Hoechle (1790-1835), Beethoven’s living room and music room, 30 March 1827, Ink and wash on paper 25.6 x 21 cm © Vienna Museum

Johann Nepomuk Maelzel (1772-1838), Beethoven’s ear trumpet, 1812-1813, brass, Bonn, Beethoven-Haus © Beethoven-Haus, Bonn

Violin once owned by Beethoven. Very probably Johann Schorn, Salzburg, ca. 1715. Donated by Prince Lichnowsky to Beethoven around 1800 Bonn, Beethoven-Haus © Beethoven-Haus, Bonn

10

ROOM 4

THE LISTENING CINEMA

In the 20th century, Beethoven’s music entered the cinema as a fictional medium. Almost characters in their own right, his sonatas accentuate a plot, his quartets accompany a dénouement, his symphonies vocalise mystery or passion, or heighten the tension or horror. Beethoven’s work thus unleashes with full force the visual imagination of the filmmaker. It inspires bold editing in dramas, crime thrillers or animés. It provides the perfect counterpoint for paralysis or immobility in the formal experiments of the French New Wave, or the experimental works of Andrei Tarkovsky and Gus Van Sant. Conversely, it can also accompany seemingly impossible long sequences of movements. Finally, in the works of Stanley Kubrick, Rob Reiner or the Israeli filmmaker, Nadav Lapid, it even steals the limelight from the violence occurring on film to create an effect of disturbing strangeness. Beethoven’s music thus acts as a powerful catalyst for the director’s ambitions.

Stanley Kubrick, A Clockwork Orange, 1971 © Warner Bros Ltd Jean-Luc Godard, A Married Woman, 1964 © Gaumont

Gus Van Sant, Elephant, 2003 © HBO Films

Edward Yang, Yi Yi, Prize for best director, Cannes 2000 © Diaphana Films Mike Figgis, Mr. Jones, film with Richard Gere © Sony Pictures

Andrei Tarkovsky, Stalker, 1979 © FSUE Mosfilm Cinema Concern

11

ROOM 5

TRAGIC FACESAND INTERIOR WORLDS

Even more so than Géricault or Rimbaud, Beethoven is the embodiment of the tragic artist’s myth, wherein depression is an expression of genius and broadens the inspiration. Like all myths, this portrait delivers a certain truth. It is well known that the composer’s life was marked by pain: the pain of losing parents who died far too soon, of a sorely missed father, and an even greater pain, that of his deafness. First detected when Beethoven was only thirty years old, the disease (so deplorable for a musician) was revolting and deeply troubling for this rather unsociable man.Brought under the scrutiny of myths and therefore amplified in the process, these experiences contributed greatly to the irremediable image of Beethoven we have now. For the artists who measured themselves against him, he became a mirror: a human being dogged by suffering and for whom conventions were an obstacle to be surmounted, and a solitary, fiercely marginal composer – a man who, in spite of all, had always sought his official place in the world and the friendship of fellow men. The moral portrait we have of the man informs his very demeanour. In his posthumous life, he is a picture of deliberate ugliness, with a melancholy sulk, a disproportionately sized skull, a fiercely introspective gaze in which we see reflected the conflicts of our own conscience.

THE LIVES OF BEETHOVEN: FROM HISTORY TO ANECDOTEThe Beethoven myth rests largely on his life story’s transmission from history to a series of quaint or extraordinary anecdotes. Neither derisory, nor accessory to the truth, they all help to build a narrative, demonstrative picture in a series of acts of the genius of Beethoven.There is another level of interpretation at work here. The very same noteworthy events that have historically peppered Beethoven’s career have been rewritten and serialized in an exhibition tribute to the glory of Beethoven. By activating this “parallel life”, the visitor is thus able to witness the, often moralized, outcome of his own life’s scenario.

Antoine Bourdelle (1861-1929), Self-portrait with Beethoven, c. 1908, silver bromide gelatine print, Paris, Musée Bourdelle © Musée Bourdelle/Roger Viollet

12

ROOM 6

POLITICAL DESTINIES

One statement shines clearly through the interpretation of Beethoven’s Eroica Symphony performed in homage to the victims of the attacks on 13 November 2015: deeply human, the energy of Beethoven’s music not only triggers an aesthetic emotion, but also a political conscience. Far more than a repertoire of musical scores, Beethoven’s work constitutes an act of power, a reason for action, a licence to act, sometimes in the most contradictory way. How many libertarian, or nationalistic gatherings have been inspired by the iconic Ode to Joy? How many patriotic songs have been sung to the thundering tones of Beethoven’s Fifth? From the revolutionary libretto for Fidelio to the Appassionata sonata, we can recognise references to the militant mood of our era and the constant onslaught of adversity with which we are faced.The political permeability of Beethoven’s work is remarkable. Naturally running alongside it is the danger of its dilution. Yet its ability to dress the wounds of humanity remains clearly visible during these heavy times.

Harlan W. Morton (1916-1987) “Will Beethoven stop Hitler?” The Etude. Music Magazine Volume 59, no.9, September 1941, Muggia (Trieste) – Biblioteca Beethoveniana – Colezione Carrino © Biblioteca Beethoveniana – Collezione Carrino, 2016. All rights reserved

Euromaidan, Kiev, 2013 © Zoya Shu

Hans Pape, Frontispiece of programme for 9th Beethovenfest in Bonn, 1939

13

PeterKUSCHEL,MonumentBeethoven,bronze,1996,Naruto,Japon

MonumentBeethoven,Qingdao,MusicSquare,

Chine

PeterKUSCHEL,MonumentBeethoven,bronze,1996,Naruto,Japon

MonumentBeethoven,Qingdao,MusicSquare,

Chine

ROOM 7

MONUMENTS: THE IMMORTAL BODYOF BEETHOVEN

Men erect monuments in order to commemorate a remarkable event, an exceptional human being. While political and military destinies were once sanctified by Antiquity and the Ancien Régime, the era of the Enlightenment elevated the artist to the status of “Grand Homme”, a being capable of embodying an entire people, of uniting a nation.Erected in 1845 in Bonn, the monument designed by Ernst Julius Haehnel was the first in a long series that surfed a genuine wave of “statuomania”, only to be overtaken by a fascination for the composer’s universal aura. Vienna (1880), Boston (1856), New York (1884), Mexico City (1921), Paris (1932), or more recently, Naruto (1997) an d Qingdao (2000): many cities have raised a monument to Beethoven, either to celebrate an anniversary or even in quest of his identity. Some aborted projects, however, remain consigned to paper, as is the case with Antoine Bourdelle, François Garas or Franz von Stuck. Proof, therefore, that Beethoven’s apotheosis can find its expression both in the city and in the world of the mind, in bronze or in ink.

François Garas, Temple of Thought, dedicated to Beethoven. Vision of temple, moonlight, c. 1900, Paris, Musée d’Orsay © RMN-Grand Palais (Musée d’Orsay)/Hervé Lewandowski

Peter Kuschel, Beethoven Monument, bronze, 1996, Naruto, Japan © Deutsches Haus Naruto

Lizhong Xu, Monument Beethoven, Qingdao, Music Square, China

14

ROOM 8

RESURRECTING BEETHOVEN:A FORMAL CHALLENGE

By the time of the world celebrations held in 1970 for his 250th anniversary, Beethoven had become an instrument highly sought-after for its ideological, utilitarian, even advertising power. Was it safe to conclude, as indeed Pierre Boulez once did, that the myth of the Immortal Beethoven might be fatally injured? No. The sheer force and number of contemporary music tributes, from Nicolas Bacri’s Omaggio to the electro tribute by Soulwax, only helped to further underscore the premise that, however absent he may be, Beethoven continues to permeate the present. At the same time, the experimental visuals of Nam June Paik, Jan Fabre or John Baldessari, or even the daring version of Beethoven’s Tenth, as interpreted by Pierre Henry, only go to show that the myth of the composer is far from being extinguished.Fragmented, dismembered and nothing to do with the original Beethoven, “Ludwig van” is a no less powerful piece: its inspirational force is preserved intact, it continues to inspire both punk and intellectual experimentations that rework the composer’s music and image for ever-changing formal ends.

Terry Adkins (1953-2014), Synapse (from the Black Beethoven Series), video work, 2004, Courtesy of the Estate of Terry Adkins and Salon 94, New York

Andy Warhol (1928-1987), Beethoven, after the portrait by Joseph Stieler, 1987, screen-print, Bonn, Beethoven-Haus © The Andy Warhol Foundation for the Visual Arts, Inc./ADAGP 2016

Mark Alexander (b. 1966), Credo II, 2015, oil on canvas, Bonn, Beethoven-Haus © Bonn, Beethoven-Haus

15

CONCERTS

LUDWIG VAN (1)Musique de chambre

TRIOSVENDREDI 14 OCTOBRE 20H30

DANIEL SEPEC VIOLONRŒL DIELTIENS VIOLONCELLEANDREAS STAIER PIANO

Ludwig van BeethovenTrio n° 6Franz SchubertTrio n° 1

AMPHITHÉÂTRE - CITÉ DE LA MUSIQUETARIF : 32€

SAMEDI 15 OCTOBRE 14H30

FRANÇOIS-FRÉDÉRIC GUY PIANOTEDI PAPAVRAMI VIOLONXAVIER PHILLIPS VIOLONCELLE

Ludwig van BeethovenTrio n° 4 « Gassenhauer » Trio n° 5 « Geister Trio » Trio n° 7 « Archiduc »

SALLE DES CONCERTS - CITÉ DE LA MUSIQUETARIFS : 25€ / 20€


Leçon de musique

LA FABRIQUE DE L’ORCHESTREORCHESTRE DE CHAMBRE PELLÉAS

BENJAMIN LEVY DIRECTION PRÉSENTATIONLORENZO GATTO VIOLON

Ludwig van BeethovenConcerto pour violon Romances

SALLE DE RÉPÉTITION - PHILHARMONIETARIF : 10€


Concert symphonique

FANTAISIEINSULA ORCHESTRA ACCENTUS

LAURENCE EQUILBEY DIRECTIONVIKTORIA MULLOVA VIOLONALICE SARA OTT PIANO

Ludwig van BeethovenConcerto pour violon Les Ruines d’Athènes (extraits) Fantaisie chorale pour piano, chœur et orchestreCOPRODUCTION INSULA ORCHESTRA, PHILHARMONIE DE PARIS

GRANDE SALLE - PHILHARMONIE TARIFS : 40€ / 35€ / 28€ / 20€ / 15€ / 10€

ORCHESTRE DE PARISCHRISTIAN ZACHARIAS, PIANO ET DIRECTION


Concert en famille ORCHESTRE DE PARIS

LUCAS MACĺAS NAVARRO DIRECTION

Ludwig van BeethovenSymphonie n° 6 « Pastorale »GRANDE SALLE - PHILHARMONIE EN FAMILLE (ENFANTS À PARTIR DE 6 ANS) TARIFS : 8€ (ENFANT) / 10€ (ADULTE)

AVANT LE CONCERT

Atelier (grands-)parents, le mardi 11 octobre à 14h30 Atelier gratuit pour tous à 9h30 et Atelier cordes (enfants uniquement) le samedi 15 octobre, à 9h30TARIFS INCLUANT LE CONCERT : 10€ (ENFANT) / 12€ (ADULTE) RENSEIGNEMENTS : 01 56 35 12 12

SAMEDI 15 OCTOBRE 20H30DIMANCHE 16 OCTOBRE 16H30

Concert symphonique ORCHESTRE DE PARIS

CHRISTIAN ZACHARIAS PIANO DIRECTION

Ludwig van BeethovenConcerto pour piano n° 1 Symphonie n° 6 « Pastorale »COPRODUCTION ORCHESTRE DE PARIS, PHILHARMONIE DE PARIS


PENDANT LE CONCERT

Récréation musicale le dimanche 16 octobre à 16hActivité pour les enfants dont les parents sont au concert.ENFANT DE 3 À 10 ANS TARIF INCLUANT LE GOÛTER : 8€ PAR ENFANT

DIMANCHE 16 OCTOBRE 14H30

Musique de chambreMUSICIENS DE L’ORCHESTRE DE PARIS

CHRISTIAN ZACHARIAS PIANO

Ludwig van BeethovenQuintette pour piano et vents Septuor pour cordes et ventsCOPRODUCTION ORCHESTRE DE PARIS, PHILHARMONIE DE PARIS

SALLE DES CONCERTS - CITÉ DE LA MUSIQUETARIFS : 32€ / 26€

16


Concert en famille

HUITIÈME SYMPHONIEORCHESTRE DU CONSERVATOIRE DE PARIS

ARIANE MATIAKH DIRECTION

Ludwig van BeethovenSymphonie n° 8COPRODUCTION CONSERVATOIRE DE PARIS, PHILHARMONIE DE PARIS

SALLE DES CONCERTS - CITÉ DE LA MUSIQUEEN FAMILLE (ENFANTS À PARTIR DE 7 ANS) TARIFS : 8€ (ENFANT) / 10€ (ADULTE)

AVANT LE CONCERT

Atelier de préparation à 9h30La Symphonie no 8 sous toutes ses coutures, grâce à des jeux de rythmes et de sons pour se mettre dans la peau du compositeur.EN FAMILLE (ENFANTS À PARTIR DE 7 ANS)TARIFS INCLUANT LE CONCERT : 10€ (ENFANT) / 12€ (ADULTE)

ET AUSSI…

ColloqueLUNDI 10 OCTOBRE DE 9H30 À 18H

BEETHOVEN ET LA RECHERCHE DU SENSIBLEEN PARTENARIAT AVEC LA FONDATION ROYAUMONT (ORGANISATRICE DU COLLOQUE « L’ÉLOQUENCE ROMANTIQUE AU PIANO »)

AMPHITHÉÂTRE – CITÉ DE LA MUSIQUE

Concert-promenade au MuséeDIMANCHE 16 OCTOBRE DE 14H30 À 17H30

BEETHOVEN, UN GÉNIE AU MUSÉELES DISSONANCES

Au travers des musiques de Beethoven, un portrait intimiste de l’artiste se dessine. Le Musée se transforme en salon musical.

MUSÉE DE LA MUSIQUE - CITÉ DE LA MUSIQUETARIF : 7€ (ENTRÉE DU MUSÉE INCLUSE)

CinémaSAMEDI 15 OCTOBRE

14h Vers la joie - Film d’Ingmar Bergman (1950, 98 minutes)16h Une Femme mariée - Film de Jean-Luc Godard (1964, 98 minutes)

DIMANCHE 16 OCTOBRE

11h Goshu le violoncelliste - Film d’animation d’Isao Takahata (1981, 63 minutes)14h30 Un grand amour de Beethoven - Film d’Abel Gance (1936, 110 minutes)16h30 Orange mécanique - Film de Stanley Kubrick (1971, 136 minutes)

SALLE DE CONFÉRENCE - PHILHARMONIE TARIF POUR CHAQUE FILM : 5€

Récitals piano

BEETHOVENINTÉGRALE DES SONATES POUR PIANO


CÉDRIC TIBERGHIEN FAC-SIMILÉ DE PIANO GRAF 1826 (COLLECTION CONSERVATOIRE DE PARIS)Sonates nos 21, 22, 25 « Alla tedesca » et 28


JOS VAN IMMERSEEL FAC-SIMILÉ DE PIANO WALTER FIN XVIIIE (COLLECTION JOS VAN IMMERSEEL)Sonates nos 8 « Pathétique », 14 et 18


YURY MARTYNOV FAC-SIMILÉ DE PIANO BROADWOOD 1817 (COLLECTION CHRIS MAENE)Sonates nos 10, 23 « Appassionata », 24 « À Thérèse » et 31


EDOARDO TORBIANELLI FAC-SIMILÉ DE PIANO ÉRARD 1802 (COLLECTION MUSÉE DE LA MUSIQUE) FAC-SIMILÉ DE PIANO GRAF 1826 (COLLECTION CONSERVATOIRE DE PARIS)Sonates nos 12, 16, 27 et 30


ALEXANDER MELNIKOV FAC-SIMILÉ DE PIANO GRAF 1826 (COLLECTION CONSERVATOIRE DE PARIS)Sonates nos 9, 11 et 29 « Hammerklavier »

LUNDI 17 OCTOBRE 20H30

ARTHUR SCHOONDERWŒRD FAC-SIMILÉ DE PIANO WALTER 1800 (COLLECTION ARTHUR SCHOONDERWŒRD) FAC-SIMILÉ DE PIANO ÉRARD 1802 (COLLECTION MUSÉE DE LA MUSIQUE)Sonates nos 2, 17 « La Tempête » et 19

MARDI 18 OCTOBRE 20H30

ALAIN PLANÈS PIANO BRODMANN 1814 (COLLECTION MUSÉE DE LA MUSIQUE)Sonates nos 13, 15 et 26 « Les Adieux »

MERCREDI 19 OCTOBRE 20H30

OLGA PASHCHENKO PIANO GRÄBNER 1791 (COLLECTION MUSÉE DE LA MUSIQUE) FAC-SIMILÉ DE PIANO GRAF 1826 (COLLECTION CONSERVATOIRE DE PARIS)Sonates nos 3, 4, 20 et 32

JEUDI 20 OCTOBRE 20H30

ALEXEI LUBIMOV PIANO GRÄBNER 1791 (COLLECTION MUSÉE DE LA MUSIQUE) ET FAC-SIMILÉ DE PIANO WALTER & SOHN 1805 (COLLECTION UNIVERSITÉ PARIS-SORBONNE)Sonates nos 1, 5, 6 et 7

AMPHITHÉÂTRE - CITÉ DE LA MUSIQUETARIF PAR CONCERT : 25€

17

VENDREDI 18 NOVEMBRE 20H30

Concert symphonique

CAPITOLE / SOKHIEVORCHESTRE NATIONAL DU CAPITOLE DE TOULOUSE

TUGAN SOKHIEV DIRECTION GUY BRAUNSTEIN VIOLON ISTVÁN VÁRDAI VIOLONCELLESUNWOOK KIM PIANO

Ludwig van BeethovenTriple Concerto pour piano, violon et violoncelleHugues DufourtUr-Geräusch (création française, commande du Beethovenfest Bonn avec le soutien de la Musikstiftung Ernst von Siemens, de l’Orchestre National du Capitole de Toulouse et de la Philharmonie de Paris)Johannes BrahmsSymphonie no 4COPRODUCTION ORCHESTRE NATIONAL DU CAPITOLE DE TOULOUSE, PHILHARMONIE DE PARIS


AVANT LE CONCERT

Débat à 18h30Beethoven : réception et interprétationAvec Marie Gaboriaud, Christian Merlin, Frédéric Sounac et Emmanuel ReibelENTRÉE LIBRE

SAMEDI 19 NOVEMBRE 11H00

Concert en famille - série Opus

BEETHOVEN À VIENNEORCHESTRE NATIONAL D’ÎLE-DE-FRANCE

ENRIQUE MAZZOLA DIRECTION LOUIS LORTIE PIANO

Ludwig van BeethovenConcerto pour piano no 5 « L’Empereur »COPRODUCTION ORCHESTRE NATIONAL D’ÎLE-DE-FRANCE, PHILHARMONIE DE PARIS

GRANDE SALLE - PHILHARMONIE EN FAMILLE (ENFANTS À PARTIR DE 8 ANS) TARIFS : 8€ (ENFANT) / 10€ (ADULTE)


Concert symphonique

BATAILLESORCHESTRE VICTOR HUGO FRANCHE-COMTÉ

JEAN-FRANÇOIS VERDIER DIRECTION

Ludwig van BeethovenLa Victoire de WellingtonFrançois DevienneLa Bataille de JemappesFranz LisztLa Bataille des Huns Piotr Ilitch TchaïkovskiOuverture solennelle 1812 (avec film)COPRODUCTION ORCHESTRE VICTOR HUGO FRANCHE-COMTÉ, PHILHARMONIE DE PARIS

SALLE DES CONCERTS - CITÉ DE LA MUSIQUETARIF : 12€

SAMEDI 19 NOVEMBRE 14H30 ET 16H00

Concert performance

LUDWIG VANSOLISTES DE L’ENSEMBLE INTERCONTEMPORAIN

Mauricio KagelLudwig vanCOPRODUCTION ENSEMBLE INTERCONTEMPORAIN, PHILHARMONIE DE PARIS

SALLE DE CONFÉRENCE - PHILHARMONIETARIF : 12€

DIABELLISAMEDI 19 NOVEMBRE 14H30

Récital piano JEAN-FRANÇOIS HEISSER PIANO

Ludwig van BeethovenVariations DiabelliPhilippe ManouryVeränderungen

AMPHITHÉÂTRE - CITÉ DE LA MUSIQUETARIF : 12€


Concert symphoniqueORCHESTRE POITOU-CHARENTES

JEAN-FRANÇOIS HEISSER PIANO DIRECTION

Hans Zender33 Variations sur 33 variations - Interprétation composée sur les Variations Diabelli de BeethovenCOPRODUCTION ORCHESTRE POITOU-CHARENTES, PHILHARMONIE DE PARIS



Concert symphonique

EGMONTORCHESTRE NATIONAL BORDEAUX AQUITAINE

PAUL DANIEL DIRECTIONNICHOLAS ANGELICH PIANO MARCIAL DI FONZO BO RÉCITANT

Ludwig van BeethovenEgmont, musique de scène Concerto pour piano no 5 « L’Empereur »Brett DeanTestamentCOPRODUCTION ORCHESTRE NATIONAL DE BORDEAUX AQUITAINE, PHILHARMONIE DE PARIS


LUDWIG VAN (2)

18

DIMANCHE 20 NOVEMBRE 11H00

Concert symphonique

LA RENCONTREORCHESTRE DU CONSERVATOIRE DE PARIS

ALEXANDRE BLOCH DIRECTIONALEXEI LUBIMOV PIANO RÉMI GENIET PIANO

Ludwig van BeethovenOuverture des Créatures de Prométhée Concerto pour piano n° 0 WoO 4Wolfgang Amadeus MozartOuverture des Noces de Figaro Concerto pour piano no 27COPRODUCTION CONSERVATOIRE DE PARIS, PHILHARMONIE DE PARIS

GRANDE SALLE - PHILHARMONIE TARIF : 12€


Concert symphonique participatif

BEETHOVEN OR NOT BEETHOVEN ?ORCHESTRE DES PAYS DE SAVOIE

NICOLAS CHALVIN DIRECTION SHANI DILUKA PIANO

Œuvres de Ludwig van Beethoven, Friedrich Witt, Johann Joseph Rœsler et Takashi Niigaki COPRODUCTION ORCHESTRE DES PAYS DE SAVOIE, PHILHARMONIE DE PARIS



Concert symphonique

HYMNE À LA JOIEORCHESTRE PHILHARMONIQUE DE STRASBOURGCHŒUR DE L’ORCHESTRE DE PARIS

MICHEL TABACHNIK DIRECTIONSUSAN GRITTON SOPRANORINAT SHAHAM ALTOSTEVE DAVISLIM TÉNORFRANZ-JOSEF SELIG BASSELIONEL SOW CHEF DE CHŒUR

Henri DutilleuxMuss es sein?Ludwig van BeethovenSymphonie no 9 « Hymne à la joie »COPRODUCTION ORCHESTRE PHILHARMONIQUE DE STRASBOURG, PHILHARMONIE DE PARIS


PENDANT LE CONCERT

Récréation musicale à 16hActivité pour les enfants dont les parents sont au concert.ENFANT DE 3 À 10 ANS TARIF INCLUANT LE GOÛTER : 8€ PAR ENFANT


Concert symphonique

BEETHOVEN ON LINE ORCHESTRE DE PICARDIECHŒUR DE SMARTPHONES D’ABBEVILLE

ARIE VAN BEEK DIRECTION

Bernard CavannaGeek Bagatelle, pour chœur de smartphones et orchestre (création mondiale)Ludwig van BeethovenSymphonie no 7COPRODUCTION ORCHESTRE DE PICARDIE, RÉSEAU ONE®, PHILHARMONIE DE PARIS


Aimé de Lemud (1816-1887), Le Rêve de Beethoven, 1863, xylographie, 62,5 x 79,5 cm © Beethoven-Haus, Bonn

19

TOURS

PRIVATE INDIVIDUALSGuided tours for adults and teensRate (includes entrance to exhibition): 12 €Family workshops-exhibition for children aged 8 yrs and above with their familyRate (includes entrance to exhibition): 10€ (children), 12€ (adult)

GROUP TOURSUnguided tours, 4th year pupils and above, students, adultsDiscovery tours (with guide), 5th year pupils and above, students, adultsGroup tour rates: 115€/190€/300€ (includes entrance to exhibition) Workshop tours (with guide), 5th year to 6th form pupilsRate: 125€ (includes entrance to exhibition)Music workshops (with a guide and sound technician), 1st to 6th formsRate: 160€ (includes entrance to exhibition)

ACCESSIBILITY User comfort: loan of seat-sticks, wheelchairs, magnifying glasses and hearing loops for the exhibition audioguide.Route for unguided tours: audio tactile route with touch-screen images, touchable sculptures, Braille versions of the music and audio descriptions are on offer for visually impaired visitors. Visitors with intellectual disabilities can follow a specially adapted acoustic path through the exhibition.The ear trumpet (see page 8): a bone conduction hearing aid Guided individual tours: disabled visitors have access to the guided tours for all ages at the weekend subject to advance booking.Guided group tours: guided tours of the exhibition can be adapted to the specific needs of disabled groups through the use of specially adapted media. Visitors who are heard-of-hearing may request a lip-reading tour with use of audiphones for amplified commentary and sound excerpts.Workshop tours Sensory Symphony; in addition to the general exhibition tour, the group gets to reinterpret a great Beethoven classic using real musical instruments.

Disabled visitor ratesUnguided tour: free for accompanied disabled visitors Guided individual tours: 5€ (likewise accompanied)Guided group tours: 60€ for the whole group

EXHIBITION-RELATED EVENTS

© William Beaucardet © William Beaucardet

20

CATALOGUE184 pages - 35€Gallimard/Cité de la musique-Philharmonie de Paris joint publication

The catalogue is organised in the order of the exhibition’s sections. Each part contains a series of texts, which include examples of the different works presented in the exhibition. Two types of text are featured in the catalogue: 8 amply illustrated essays and broaching a broad theme, linked to each section of the exhibition, 17 datasheets addressing a group of significant works (Bourdelle’s sculptures, experiments by Beuys, Klinger), with illustrations by the artists themselves.

Catalogue contents

Preface1 - The omnipresence of an icon: devotion or dilution?

• Marie-Pauline Martin, L’omniprésence d’un absent • Marie Gaboriaud, Écrire, construire et inventer la biographie de Beethoven

2 - 1827: from death to immortality• Elisabeth Brisson, 1827, Mort de Beethoven: quand la réalité devient fiction• Benedetta Saglietti, Réécritures perpétuelles du masque de Beethoven

3 - The musician as prophet• Nathalie Heinich, Le génie de Beethoven• Emmanuel Reibel, L’écoute romantique de Beethoven• Sarah Hassid, Beethoven ou l’inspiration transfigurée• Julie Ramos, Messianisme et transpositions : les Beethoven de Max Klinger

4 - A man turned obsession• Beate Angelika Kraus, Un homme devenu reliques• Michael Ladenburger, Rendre hommage à Beethoven, hier et aujourd’hui

5 - Tragic faces and interior worlds• Colin Lemoine, Le sourire de Beethoven. De la gravité et de l’intimité en modernité• Bernard Fournier, Le motif Muss es sein?, emblème de la pensée de Beethoven• Esteban Buch, Bénéfices secondaires de la surdité

6 - Ideological destinies• Esteban Buch, L’Ode à la joie, fétiche sonore du politique• Julie Ramos, Beethoven sécessionniste dans la Vienne de 1902• Michel Wasserman, La Neuvième Symphonie: un phénomène de société au Japon• Corinne Schneider, D’une cause à l’autre : le devenir politique de Fidelio

7 - Monuments: the immortal body of Beethoven• Silke Bettermann, Les monuments consacrés à Beethoven en Allemagne et en Autriche• Clémentine Delplancq, Consécrations de pierre : les monuments à Beethoven à travers le monde

8 - Transpositions: Beethoven disembodied • Guitemie Maldonado, Mais qu’est-ce qui, au juste, rend Beethoven si attirant, si populaire ?• Antoine de Baecque, ‘Mon scénariste, c’était Beethoven’, de Rohmer en Godard.• Timothée Picard, Quand l’Europe entre dans l’ère ambiguë de la modernité : le Beethoven des écrivains• Corinne Schneider, Beethoven, aux sources de l’avant-garde musicale• Solveig Serre, Roll over Beethoven

LUDWIG VAN

LUD

WIG

VAN

LE MYTHEBEETHOVEN

LE M

YTH

E BE

ETH

OV

EN

Gallimard | Philharmonie de ParisGal

lim

ard

| Ph

ilhar

mo

nie

de

Par

is

Monstre démiurge pour les uns, figure duhéros pour les autres, chantre de la liberté républicaine, modèle de la puissance inspirée, incarnation de la Créa-tion enfiévrée ou parangon de la Douleur sublimée, Beethoven a façonné, depuis bientôt deux siècles, un imaginaire littéraire, visuel et musical d’une richesse prodigieuse. De Klimt à Beuys, de Gide à Haneke, de Burne-Jones à Pierre Henry en passant par Hartung, Basquiat et Kubrick, l’aura beethové-nienne hante les artistes et ne manque jamais son objet : celui d’électriser le regard, l’oreille et l’esprit. Beethoven désigne aujourd’hui bien plus qu’un objet d’étude historique ou musicologique ; il tient avant tout à d’un imaginaire collectif, à la fois populaire et savant, politique et artistique, dans lequel se mire constamment notre humanité. Telle est l’identité du musicien que cet ouvrage restitue, à travers un riche parcours iconographique, tout en questionnant l’adéquation, ou au contraire la distorsion, entre le Beethoven « historique » et son devenir imaginaire.

CATALOGUE

DE L’EXPOSITION

PHILHARMONIE

DE PARIS

Antoine Bourdelle (1861-1929), Beethoven, with cheek resting on one hand, 1888, bronze, artist’s rough no.1 cast by Clementi in 1989, Paris, Musée Bourdelle © Musée Bourdelle/Roger-Viollet

21

Ludwig van Beethoven (1770-1827). String quarter no.15 in A minor, Op. 132. Molto adagio “Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart”, 1825. Manuscript dedicated to Prince Nikolai Galitzine © Beethoven-Haus, Bonn

Margaret Bourke-White (1904-1971). Room where Beethoven was born in Bonn, 1945. Photograph 18.7 x 24.2 cm, New York, Michael Mattis and Judith Hochberg collection

22Arnulf Rainer (b. 1929), Beethoven, rapid sketch of death mask, 1978, ink drawing on a photograph, artist’s studio © Arnulf Rainer/Albertina, Vienna, Peter Ertl

23

PRESS CONTACTS

• OPUS 64 - +33 (0)1 40 26 77 94 Valérie Samuel [email protected] Claire Fabre [email protected] Pablo S. Ruiz [email protected]

• PHILHARMONIE DE PARIS Gaëlle Kervella [email protected] - +33 (0)1 44 84 89 69 Philippe Provensal [email protected] - +33 (0)1 44 84 45 63

PRATICAL INFORMATIONS

+33 (0)1 44 84 44 84 • PHILHARMONIEDEPARIS.FR

Philharmonie - exhibition space - 221, Avenue Jean-Jaurès 75019 Paris

Tuesday to Thursday: 12 p.m. - 6 p.m.Late hour Friday: 12 p.m. - 10 p.m.Saturday and Sunday: 10 a.m. - 8 p.m.Rate: 10€ (including entry to the permanent collection at the Musée de la musique and the MMM exhibition)

The press kit, visuals (copyright-free HD for the exhibition’s promotion) and an exhaustive list of the works in question may be downloaded from the Press Section of our website:

philharmoniedeparis.fr/presse

EXHIBITION - Philharmonie de Paris · reference, transcending all cultural and geographical borders. As early as the 1960s, as record sales were expanding, Beethoven embarked upon

Documents