Leguerney songs with Flute, harp and string trio

I was looking up something in the catalog that Mary Dibbern put together of all of the manuscripts in Jacques Leguerney's papers at the time of his death and came across the following entry :

OL78.
3 PoËmes de la PlÈiade, instrumentÈs pour le Quintette†?
Manuscrit partition au crayon, 28 pages.
Harpe, flute, violon, alto, violoncelle.
(A la Fontaine Bellerie, Chanson triste, Villanelle)

It seems quite clear to me that the mysterious Quintette referred to here must be the Quintette Instrumental Pierre Jamet which was directed by this famous harpist (he premièred the Sonata for Flute, Harp and Viola by Debussy, among many other pieces). Among the many composers who wrote for this ensemble (Jolivet, Desportes, D'Indy, Koechlin, Tomasi etc etc etc), Germaine Tailleferre arranged a Scarlatti sonata for this ensemble and Françaix wrote two quintettes for them. It seems quite clear to me that this must have been the ensemble that Leguerney was writing for. I'm wondering if the Trio for Harp, Violin and Piano was written for Jamet as well?

More works by Ali Ben Sou Alle!

Today's project was editing another one of Ali Ben Sou Alle's pieces in his Souvenirs de... collection. Yesterday, I did Souvenirs d'Angleterre (Souvenirs of England) which turned out to be a rather German-classical style aria (especially given the piano figuration) followed by a valse brillante with variations. All in all, it doesn't seem very English. However, I'm beginning to wonder if these works are not more about what Soualle wrote at various stops on his tours, rather than being descriptive program music.

Souvenirs d'Écosse (Souvenirs of Scotland) does indeed have a set of three variations on the Scottish Song "Charley is my Darling", which is probably by Carolina Oliphant (Lady Nairnie 1766-1845), although there are several versions of this song. However, the extended introductary aria also sounds extremely German Classical, with crossed hand figurations which sound right out of Beethoven...and then, even more curiously, there is an extended Boléro, which inspite of being decidedly un-Scottish is extremely brilliant and very effective. This is one of the most important pieces in the entire cycle, both in terms of size and also in quality.

I have been pleasantly surprised by the amount of information that I've finding just on the web, which is helping me put the various pieces of this puzzle together. Some very interesting information is in the article THALIA AND TERPSICHORE ON THE YANGTZE A SURVEY OF FOREIGN THEATRE ... which discusses the circumstances of the première of the Shanghai Redowa Waltz (dedicated to "the ladies of Shanghai"...)

19.9.1856 (Fri)
Concert by Ali Ben Sou Alle and some local amateurs.
Instruments: "Turkophone". "Turkophonini". clarinet, piano.
Programme:
G. ROSSINI: Two overtures, V. BELLINI: Selections from "La Sonnambula", F.
MENDELSSOHN-BARTHOLDY: "The Fairest Flower" (song). Some German songs.
The "Shanghai Redowa Walse", Medley of English, Scottish and Irish airs.
Th: N.N. (C)
R: Tonight was the occasion of the first real concert in the Settlement's history. It was
given by Mr. ALI BEN SOU ALLE, a Turk who, after a study at the Conservatoire
de Paris, had been appointed Directeur de Musique de Marine in Senegal (which had
been French since 1871) in 1844. In 1847 he returned to Paris to enter the orchestra
of the Opera Comique. but the following year he went to London where he found
employment in the orchestra of Her Majesty's Theatre at the Haymarket. He learned
to play some instruments that had been invented by Adolphe Sax, the Belgian musician
(1914-1894) and thereafter he made an extensive tour to Australia, Java, Singapore,
Manila and China (CM 16.10.1856). In Hong Kong and even Canton he had appeared
in August and October 1856 (CM 7.8. 14.8, 21.8, 16.10.1856). In between he gave
two recitals in the Yangtze port. In the Survey it has already been stated that the soloist
entertained the public with performances on several instruments that had been
rechristened Turkophone and Turkophonini; in reality they were the Saxophone and
(probably) the soprano saxophone. Well may we ask how these instruments, which
were only of recent origin (1840s), were received by an audience completely unused
to their sound. The artist interpreted a selection from Bellini's "La Sonnambula" on
the "Turkophone" and the critic wrote that "the compass of the instrument is very
great but we confess to some disappointment as regards its quality of tone, and correctness
of tone also, in some few notes, and altogether we think it an imperfect instrument
199
— it may, however, improve on further acquaintance but we had no other opportunity
of judging during the evening". The "Turkophonini" could be heard in a solo with
variations and it was deemed "by far the most perfect and pleasing instrument of the
two". The Shanghai Redowa Walse (Rcdowa: a Bohemian dance) which had been
"compassed expressly for this Concert and dedicated to the Ladies of Shanghai — as
the programme informed us", also performed on the Turkophonini was not thought
of "very highly", but it convinced the reporter that "the instrument is well adopted
for that class of music". Obviously not everyone in the audience was of the same view,
for the editor wrote in the Herald of September 27: "The critique of our reporter has
been much discussed in fashionable circles and the correctness of his judgement as
to the perfection ofthc.se new instruments questioned. Knowing his high attainments
as a musician, we defer to his opinion. Matters of taste do not admit of dispute, De
gustibus non est disputandcm. We may all enjoy our own and as a second glass of
wine enables us to pronounce belter judgement as to its quality, so will this second
performance (on September 29) by familiarizing us with the instruments enable us better
to decide upon their excellence". In Hong Kong the China Mail could not speak "in
very warm terms of praise at least as regards their suitability for solo performances"
(CM 21.8.1856). On the other hand it admitted that "by men of cultivated taste M.
Ali's talents are fully appreciated and it will be long ere those who have had the pleasure
of listening to his performances will forget the sweet but powerful tones of the
Turkophonc or the dulcet melody of the Grand Clarionet and Turkophonini" (CM
16.10.1856). Ali Ben Sou Alle was assisted by local amateurs who, played a number
of pieces including two Rossini overtures on the piano; and "very creditably" sung
Mendelssohn's "The Fairest ['lower".
The evening was attended by a "numerous audience, comprising the beauty and
fashion of our Settlement" (NCH 20.8.1856).
29.9.1856 (Mon)
A second concert by Ali Ben Sou Alle.
No review was published in the Herald, only an announcement (NCH 27.9.1856).

There is also a concert program from a concert in London, in which ABSA performed Variations on "In my cottage" for "turcophone" and piano and report of a request for a patent for "improvements to a key system of wind instruments". which sounds quite a bit as if Soualle was not directly challenging Sax's pending patents, but wanted to protect his own key system.

Tomorrow, I will do the piece "Souvenirs de L'Ile Maurice" where Soualle gave a benefit concert after an outbreak of cholera.

«A brilliant concert was organised through the means of a traveling artistr, M. Ali Ben Sou Alle, whose generosity is equal to his talent, was given in the same manner (to raise funds for the cholera victims) in the newly restored theatre and attracted a large crowd...

I'm sure more information will pop up in various places!

Musik Fabrik composers performed this week and next

The Piano Duo of Ellen Kendall and Susan Wheatley gave a lecture-recital on The Two Piano Music of Germaine Tailleferre at the Indiana University of Pennsylvania's Festival of Women Composers on Thurday, March 27, 2008. The duo performed Tailleferre's Sonata for Two Pianos, The Intermezzo for Two Pianos and the Nocturne from La Nouvelle Cythère.

Jean-Yves Malmasson's work Trois Miniatures Burlesques for violin and piano was performed by Adam Banda, violin; Cima Moussalli, piano on Friday, March 28, 2008 at the Institut Hongrois in Paris.

Next week, on March 31, 2008, Carson Cooman's work The Doors in the Sky (2007) for solo violin by Piotr Szewczyk, violin at University of Cincinnati College-Conservatory of Music, Cincinnati, Ohio, USA.

Jacques Leguerney's "Le Clair de Lune"

Today's project was working through Jacques Leguerney's work for voice, Flute, Violoncello and Piano Le Clair de Lune on a rather romantic poem by Aloysius Bertrand (1807-1841). The text is as follows :

Oh ! qu'il est doux, quand l'heure tremble au clocher,
la nuit, de regarder la lune qui a le nez fait comme
un carolus d'or !

Deux ladres se lamentaient sous ma fenêtre, un chien
hurlait dans le carrefour, et le grillon de mon foyer
vaticinait tout bas.

Mais bientôt mon oreille n'interrogea plus qu'un silence
profond. Les lépreux étaient rentrés dans leurs chenils,
aux coups de Jacquemart qui battait sa femme.

Le chien avait enfilé une venelle, devant les pertuisanes
du guet enrouillé par la pluie et morfondu par la bise.

Et le grillon s'était endormi, dès que la dernière bluette
avait éteint sa dernière lueur dans la cendre de la cheminée.

Et moi, il me semblait, - tant la fièvre est incohérente ! -
que la lune, grimant sa face, me tirait la langue comme
un pendu !

Leguerney's setting is very clearly influenced by Ravel's Chansons Madécasses both in terms of instrumentation and general musical atmosphere. The harmonic writing flirts with a rather stylized atonality that is surprising, given the rather Faurean atmosphere of some of Leguerney's works around the period of Poèmes de la Pléiade, which are later (1943-44) rather than earlier, as would usually be expected. It is not surprising that Nadia Boulanger, who was Leguerney's composition teacher briefly, would have been impressed enough by this work and its companion piece Épitaphe Guerrière to arrange for the work's première.

The basic musical idea, as in much of Leguerney's work, is an inherent conflict (in this case, the juxtaposition of five beats over four) which remains unresolved. I believe that this is one of Leguerney's most original works, on any number of levels. The performers who are currently preparing this works US première in Cincinnati next Summer (at the Grandin Festival, under the direction of Mary Dibbern, the World's Leguerney expert) are going to have to work hard to find the right balance between the inherently conflicting rhythmic and harmonic aspects in this work.