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

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.

BOOKLETTE.indd, Planche 2 sur 6 - Pages (11, 2) 17/07/2008 15:19

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 15:19

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 15:19

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

BOOKLETTE.indd, Planche 6 sur 6 - Pages (7, 6) 17/07/2008 15:19

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 15:19