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CD 5050-32
Olivier Dartevelle-Clarinet Rachel Talitman-Harp
Olivier Dartevelle-Clarinet Rachel Talitman-Harp
Jean-Xavier Lefèvre (1763-1829)
Sonatas
Jean-Xavier Lefèvre (1763-1829)
Sonatas
BOOKLETTE.indd, Planche 1 sur 6 - Pages (12, 1) 17/07/2008
15:19
CD 5050-32
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German Recital
Bassoon & Harp
CD 5050-07
Frida Kern
CD 5050-08
Bernard Andrès
Concertos
CD 5050-09
Hommage à Debussy
Flute,Viola & Harp
CD 5050-10
G.F. Händel
Concertos
CD 5050-11
Stephen Paxton
CD 5050-13
Jean Xavier Lefèvre, started studying music at a very early age
and soon moved to Paris to cultivate his natural talents.He worked
under Michel Yost, generally known as Michel – the most talented
clarinetist of his time. It was thanks to this master and his
constant studying that he attained the superior quality of sound
and clarity of execution which were to become the distinctive
hallmarks of his talent. Even before completing his training, he
entered the French musique de garde. It was on 1 November 1787 that
Lefèvre performed in public for the irst time at a spiritual
concert in a concert symphony by Devienne for clarinet and basson
which he performed with Perret. His performance met with great
success and after that there was practically no musical event at
which he was not called upon to perform one or other solo piece. In
April 1791 he joined the orchestra of the Opera and there he was
responsible for performing solo pieces in the opera and ballets.The
brilliant manner in which he executed in Anacreon de Gretry a long
and diicult organ passage without accompaniment remained a lasting
souvenir.It was only in January 1817, after 26 years of service
that Lefevre retired from the Opera. He was among the professors of
the Conservatoire from its inception and its Education Committee
appointed him to prepare a teaching method for the clarinet. His
method was unanimously adopted by the Committee and was the only
one in use until such time when important improvements were made to
the construction of the instrument. Lefevre added a sixth clef
(that of sol-diese) ; previously the clarinet only had ive.His
remarkable observations regarding breathing and the role of the
tongue made his work highly recommendable. It was recorded in Paris
in 1802 in fol ; the fact that this work was translated into German
and published by Andre in Ofenbach is ample evidence of its
importance, as it is well known that at that period the clarinet
was considered a very important in Germany.Lefèvre trained many
students who went on to occupy primary clarinetist posts in the
various Paris orches-tras. He retired from his teaching work in
February 1825, after 25 years.On 7 March 1807 he entered the
Napoléon Chapel and retained his place there after the
restauration, remaining there until his death. He passed away on 9
November 1829. He was awarded the order of Chevalier de la Legion
d’Honneur. His compositions consist of:Six concertos of clarinet
with orchestral accompaniment ;Two concert symphonies for clarinet
and bassoon; One concertant for wood instruments, clarinet and
basson; Two works for quartets for clarinet, violin, alto and basse
; Eleven works for duos for two clarinets .One work for duos for
clarinet and bassoon. All these works were published in Paris and
there were also various editions in Germany.In addition he left
other works in manuscript.The quality of sound that Lefèvre
obtained from his instrument was voluminous but belongs to the type
the Germans designated as « French sound » which implied that it
was powerful rather than soft. Lefèvre did not like the sound of
the German school and perhaps did not assign to Baerman’s talent
the importance it merits. He was also not keen on the eforts he saw
around him to perfect the clarinet, believing that too many clefs
could only harm the instrument’s sonority. While there is some
truth in this - a tube with many holes and foreign bodies
inevitably has a poorer sound than one with fewer apertures – he
did not admit that the main quality of an instrument is its
accuracy and this can only be obtained by a multiplicity of
clefs.FETIS does not mention that : he also performed at the
Société Olympique and in 1790 in London ; his work was also
translated into Russian in 1830, and that he composed hymns« Hymne
a l’Agriculture» being the most well known and military marches.
COTTE mentions that he was a freemason according to G. Bord. Later
research, in the remarquable work by Pierre François Pinaud « Les
Musiciens francs-maçons au temps de Louis XVI » (Vega, 2009) Claims
he was a member of Saint Jean d’Ecosse du Contrat Social in 1783-6
and of Sainte Cécile in 1784.
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French Recital
For Basson & Harp
CD 5050-01
Parish - Alvars
CD 5050-02
W.A. Mozart
Concertos
CD 5050-03
French music
Harp & String Quartet
CD 5050-04
Graziani
CD 5050-05
J.M. DAMASE
Concertos
CD 5050-06
Jean Xavier Lefevre (1763-1829) composed 12 sonatas for the
clarinet. All were published in his method which dates from 1802.A
professor of the Paris Conservatoire Lefevre composed various works
whose main purpose was educational but nonetheless they are, by
virtue of their melodic quality and their inventive charm,
excellent concert pieces all too often overlooked today. Our choice
in this recording was intended to give each of them a particular
atmosphere emphasizing their melodic virtuosity and rythmic energy.
In doing this we followed the precepts of Lefevre who recommended
to his interpreters to vary their playing in order to avoid boring
the listener by repetitive style. The sonatas were written in the
form of duets for clarinet and an accompanying instrument cello. An
improvisation for the harp is a welcomed addition in order to
enrich the harmony of the bass part. The harp became popular during
Lefèvre’s life time. Harp Tutors and
virtuoses-Marin,Cardon,Bochsa,Krumpholz ,Stéphanie-Félicité de
Geblis,Xavier Desargus all of them per-formed in Paris at that
time.Lefevre points out that these sonatas can be played on the
clarinet sib, forcing the lowering of the bass part by one tone.
Curiously, current editions have endorsed this concept and the
sonatas are presented today in a tone induced by the clarinet sib
(which has largely replaced the clarinet in do in present times)
which is one tone lower. In fact it was impossible at the time to
play the clarinet with six clefs which were too «diicult», hence
the numerous changes of instruments that can be found in the
symphonies of Beethoven and Schubert for example for the wind
section. The sonatas all have the same construction : a irst lively
movement, a slow movement and then a rondo or allegro.Sonata No 1
in mib Major (Fa major originally) reveals itself in its melodic
wealth, natural and inspired recalling Mozart in its evident
simplicity. The irst movement Allegro moderato although not too
developed, ofers the clarinet a pleasant melodic opening in quarte
creating a warm and simple atmosphere. The following adagio uses
the sixteen to take the expression further. Here we have several
«sol dieses» made possible by the addition of the sixth clef which
Lefevre proudly uses in his work. The inal rondo in determined
tertiary rhythm invokes the sound and style fashionable in France
at the time: clear and precise.Sonata No 2 in sol Minor (la minor
originally) sets out « en anacrusis » and the use of the minor note
allows for very diferent playing. It is interesting to note that
the minor mode does not provoke a sense of sadness but rather a
kind of Rous-seau –like pastoral serenity.Besides the following
adagio discovers already a major mode which is full and serene and
where Lefevre attempts a few arabesques in « triolet » which must
have puzzled some of its interepreters at the time. The inal
adagio, full of gaiety and energy beckons us to savour among
friends our previous promenade with a lively and joyful
discussion.Sonata No 3 in fa Major (sol major orginally) is the
most classic with its allegro in four times already little more
developed than the previous ones. The sonatas are in fact destined
for teaching allowing young clarinettists to try out various
diiculties.The next adagio, a colourful and almost naive epical
image, is much more original with its suggestive theme, mixing play
and silence. Lefèvre takes us on a beautiful trip of colour and
sound. The inal allegro comes back to the classic style of the irst
movement allowing for many possible inventions of articulation and
shades.Sonata No 4 in mi bemol Major (fa major originally) seems
the most accomplished and original of this recording. The alle-gro
moderato employs harmoniously all the expression of a perfect
accord, illustrated by the numerous ap-poggiaturas. Here the decor
is never gratuitous and contributes to ofer both the interpreter
and the listener generous expression. The following adagio in minor
mode, precedes a polonaise – a fashionable dance of
that era whose peculiarity is to grant equal importance to three
times. Lefèvre includes a central trio mixing
BOOKLETTE.indd, Planche 6 sur 6 - Pages (7, 6) 17/07/2008
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Lovreglio Donato
CD 5050-15
Albrechtsberger
CD 5050-16French Recital
Viola and Harp
CD 5050-14
German Recital
Flute and Harp
CD 5050-19
Federigo Fiorillo
CD 5050-17
Damase
Chamber Music
CD 5050-18
classic and light menuet with the popular polonaise.Sonata No 5,
in do Minor (re minor originally) bears witness to this natural
melodic form which is typical of Lefevre`s compositions.Here the
allegro ma non troppo, an almost concertant writing, presages more
ambitious partitions for future clarinet-tists.It is followed
nonetheless by an almost religious adagio – a beautiful deep and
unshakeable «melope» using an instrumental chromatism already
daring in relation to the fad of the time.The Rondo Pastoral which
follows bears witness to the use of 6/8 in French revolutionary
music. Many are in fact popular songs written in this written, such
as the well-known « il pleut, il pleut bergere » by Fabre
d`Eglantine, quite close to this inale.Sonata No 7 in sol Minor is
the most famous of Lefèvre`s sonatas.The allegro ma non tropo
announces a strong theme proceeding with its pointed rhythm and
various ornaments. Its brilliant virtuous character is obtained
through the triolets.The adagio bears an undeniable resemblance to
the 2nd sonata, ofering a delicate and inspired expression.It is
one of Lefevre`s most beautiful. As for the inal rondo, it is full
of energy and natural joy. Having little direct information on the
composer`s character, one can guess here that his musical
inspiration gave him some instances of intense musical joy.
LEFÈVRE (Jean-Xavier), clarinettiste distingué, né à Lausanne en
1763, commence très jeune l'étude de la musique, et va ensuite à
Paris pour continuer ses études. Il se met sous la direction de
Michel Yost, connu généralement sous le nom de Michel, et le plus
habile clarinettiste de son temps. C’est aux soins de ce professeur
et à ses études constantes qu'il doit la belle qualité de son et la
netteté d'exécution qui furent les qualités distinctives de son
talent. Ses études n'étaient pas encore terminées lorsqu'il entra
dans la musique des gardes françaises.Le 1er novembre 1787, Lefèvre
se it entendre pour la première fois en public ,concert spirituel,
dans une symphonie concertante de Devienne, pour clarinette et
basson, qu'il exécuta avec Perret. Son succès est brillant, et dès
lors il y a peu de so-lennités musicales où il ne fût appelé pour y
jouer quelque solo. En 1791, il entre dans l'orchestre de l'Opéra,
où il est chargé plus tard d'exécuter les solos dans les opéras et
dans les ballets. Quelques personnes se souviennent encore de la
manière brillante dont il exécutait dans Anacréon, de Grétry, un
point d'orgue long et diicile, sans accompagnement, sur lequel on
dansait un pas dialogué avec l'instrument. Lefèvre ne se retire de
l'Opéra que le 1er janvier 1817, après vingt-six ans de service.A
l'époque de la formation du Conservatoire de musique, il est
compris parmi les professeurs de cet établissement. Le comité
d'enseignement le charge de la rédaction d'une méthode de
clarinette, qui est adoptée à l'unanimité par ce même comité et qui
a été seule en usage jusqu'au moment où des améliorations
importantes ont été faites à la construction de l'instrument.
Lefèvre ajoute la sixième clef (celle de sol dièse) ; avant lui, la
clarinette n'en avait que cinq. Une gradation bien entendue des
diicultés, et d'excellentes observations sur la respiration, les
coups de langue et les modiications du son, rendent l'ouvrage de
cet artiste fort recommandable. Il est gravé à Paris, en 1802, rien
ne prouve mieux son utilité que la traduction qui en est faite en
allemand et qui est publiée chez André, à Ofenbach, car on sait que
la clarinette était alors cultivée en Allemagne avec beaucoup de
succès.Lefèvre forme beaucoup d'élèves, qui occupent les premiers
emplois de clarinettistes dans les divers orchestres de Paris. Il
se retire de ses fonctions de professeur qu'au mois de février
1825, après les avoir remplies pendant vingt-huit ans. Entré dans
la chapelle de Napoléon, en 1807, il conserve sa
BOOKLETTE.indd, Planche 2 sur 6 - Pages (11, 2) 17/07/2008
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Wagenseil-Concertos
CD 5050-20
Tansman-Smit
CD 5050-21
Paganini
CD 5050-22
Jean Cras
CD 5050-24Bax, Elgar, Mathias, Lloyd
CD 5050-26Vicomte de Marin
CD 5050-12Jean Baptiste Cardon
CD 5050-23
The School of Harp in France
Hoffmeister
CD 5050-29Pollet, Marin, Cardon
Concertos CD 5050- 25
Fench Chamber Music
Flute,Viola,Harp
CD 5050-12
Xavier Lefèvre
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place jusqu’à sa mort. Lefèvre était chevalier de la Légion
d’honneur. Il est mort en 1829.Ses compo-sitions consistent en six
concertos pour la clarinette avec accompagnement d’orchestre ; Deux
sym-phonies concertantes pour clarinette et basson ; Une
concertante pour hautbois , clarinette et basson ; Deux œuvres de
quatuors pour clarinette, violon, alto et basse ; Onze œuvres de
duos pour deux clarinettes ; Un œuvre de duos pour clarinette et
basson ;7° Six sonates pour clarinette et basse ; Six trios pour
deux clarinettes et basson. Tous ces ouvrages sont publiés à Paris,
et l’on en a fait diverses éditions en Allemagne. Lefèvre laisse
plusieurs autres œuvres en manuscrit.La qualité de son que Lefèvre
tirait de son in.strument était volumineuse, mais elle appartenait
à l’espèce que les Allemands désignent sous le nom de son français,
c’est-à dire qui est plus puissant que moelleux. Il n’aime pas le
son de l’école allemande, et peut-être ne rend pas au talent de
Baermann la justice qui lui est due. Il n’est pas non plus partisan
des essais qu’il voit faire pour le perfectionnement de la
clarinette ; il croit que la multiplicité des clefs nuit à la
sonorité de l’instrument, ce qui peut être vrai, car un tube percé
de beaucoup de trous et chargé de corps étrangers est moins sonore
qu’un autre qui a moins d’ouvertures ; mais il comprend que la
qualité principale de l’instrument est la justesse, qui ne peut
s’acquérir qu’en multipliant les clefs. Fétis ne mentionne
cependant pas qu’il se produisit également à la Société Olympique
et, en 1790, à Londres, ni que son traité fut également traduit en
russe en 1830, ni qu’il est également l’auteur d’hymnes et marches
militaires révolutionnaires, dont un Hymne à l’agriculture en
1791.Cotte le mentionne avec l’indication aurait été franc-maçon
d’après G. Bord. La recherche a heureusement fait quelques progrès
depuis lors, puisque dans son remarquable ouvrage Les Musiciens
francs-maçons au temps de Louis XVI (Véga, 2009), Pierre-François
Pinaud le donne comme membre de Saint-Jean d’Ecosse du Contrat
Social en 1783-6 et de Sainte-Cécile en 1784.Sonata No 1 in mib
Major (Fa major originally) reveals itself in its melodic wealth,
natural and inspi-red recalling Mozart in its evident simplicity.
The irst movement Allegro moderato although not too developed,
ofers the clarinet a pleasant melodic opening in quarte creating a
warm and simple at-mosphere. The following adagio uses the sixte to
take the expression further. Here we have several «sol dieses» made
possible by the addition of the sixth clef which Lefevre proudly
uses in his work. The inal rondo in determined tertiary rythem
invokes the sound and style fashionable in France at the time :
clear and precise.Sonata No 2 in sol Minor (la minor originally)
sets out « en anacrouse » and the use of the minor note allows for
very diferent playing. It is interesting to note that the minor
mode does not provoke a sense of sadness but rather a kind of
Rousseau –like pastoral serenity.Besides the following adqgio
discovers already a major mode which is full and serene and where
Lefevre attempts a few arabesques in « triolet » which must have
puzzled some of its interepreters at the time.The inal adagio, full
of gaiety and energy beckons us to savour among friends our
previous promenade with a lively and joyful discussion.Sonata No 3
in fa Major (sol major orginally) is the most classic with its
allegro in four times already a little more developed than the
previous ones. The sonatas are in fact destined for teaching
allowing young clarinetists to try out various diiculties.The next
adagio, a colourful and almost anive Epinal image, is much more
original with its suggestive theme, mixing play and silence. Lefvre
takes us on a beautiful trip of colour and sound. The inal allegro
comes back to the classic style of the irst movement allowing for
many possible inventions of articulation and shades.
Sonata No 4 in mib Mjor (fa major originally) seems to me the
most accomplished and original of this recor-ding. The allegro
moderato employs harmoniously all the expression of a perfect
accord, illustrated by the numerous appogiatures. Here the decor is
never gratuitou and contributes to ofer both the interpreter and
the listener generous expression. Lefevre used the particularly
wide ambitus of the clarinet to ofer, within the same theme a
dialogue between low and high pitch.The following adagion in minor
mode, preceeds a polonaise – a fashionable dance of that era whose
peculiarity is to grant equal importance to three times. Lefevre
includes a central trio mixing classic and light menuet with the
popular polonaise.Sonata No 5, in do Minor (re minor originally)
bears witness to this natural melodic form which is typical of
Lefevre`s compositions. Here the allegro ma non troppo, an almost
concertant writing, presages more ambitious par-titions for future
clarinetists. It is followed nonetheless by an almost religious
adagio – a beautiful deep and unshakeable «melope» using an
instrumental chromatism already daring in relation to the fad of
the time.The Rondo Pastoral which follows bears witness to the use
of 6/8 in French revolutionary music. Many are in fact popular
songs written in this written, such as the well-known « il pleut,
il pleut bergere » by Fabre d`Eglantine, quite close to this
inale.Sonata No 7 in sol Minor is the most famous of Lefevre`s
sonatas and often constitute the irst that clarinetists play at
their initial and not so important exams.The allegro ma non troppo
announces a strong theme proceeding with its pointed rythem and
various ornaments. Its brilliant virtuouse character is obtained
through the triolets. The adagio bears an undeniable ressemblence
to the 2nd sonata, ofering a delicate and inspired expression. It
is one of Lefevre`s most beautiful. As for the inal rondo, it is
full of energy and natural joy. Having little direct information on
the composer`s character, one can guess here that his musical
inspiration gave him some instances of intense musical joy.
Lauber
CD 5050-31
Absil Lysight
CD 5050-28 Jongen
DVD 5050-27
BOOKLETTE.indd, Planche 4 sur 6 - Pages (9, 4) 17/07/2008
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