Florence Malgoire - Genève au siècle des Lumières (2017)

Posted By: SERTiL

Date: Nov. 27, 2017

Following the Protestant Reform of the 16th century, Geneva became a recognized intellectual and religious centre. Attracting an important community of foreign nobility, the city did not stray from European artistic trends. Itinerant musicians, amateurs and dancing masters were essential actors of the transmission of musical practices as required by proper education.

In the middle of the 17th century, Genevese amateurs, travelers and foreign nobles congregated in “music concerts”. During one of these, forty young men from good families decided, in 1717, to found a concert society that would soon have at its disposal a converted hall in the Town Hall, where, for over a century, Genevese musicians and passing artists would perform. The city could now count on an orchestra, imperative for the interpretation of the contemporary repertoire, but also for welcoming important hosts, celebrating a royal birth or wedding in France, and shortly for playing fashionable comic operas. Whereas the theatre piqued the ire of moralists, music was never disputed. Furthermore, from the dawn of the 18th century, clergymen supported initiatives to establish music schools and even considered the rehabilitation of organs in churches.

Far from limiting itself to patrician salons, musical practice spread amongst the middle class and the world of well-to-do artisans, offering work opportunities to music and dance masters, instrument makers, even music engravers. Geneva’s geographical situation, at the cross-roads of the great European routes, as well as its prosperity, account for the visit of well-known musicians who found here an opportunity to play for or teach amateurs who, if the high quality of certain musical libraries is to go by, were very well informed about music of their time. Coming from various countries and cultures, these musicians brought their cultural knowledge and artistic language to local artists, thus contributing to the development of a flourishing musical life on par with the great European stylistic trends.

Gaspard Fritz, Nicolas Scherrer and Friedrich Schwindl, three actors of the musical life in Geneva.

***

Gaspard Fritz (1716-1783) is the most famous of the Genevese musicians. Born in Geneva, composer and violinist, he first studied with his father, Philippe Fritz, musician who came from Hanover, and later with Giovan Battista Somis in Turin, before returning to his home town where he spent his whole life, except for a journey to Paris. Acknowledged Master, he became a professor, composer and, foremost, violin virtuoso. Between 1742 and 1772 he published, in Geneva, Paris and London, five volumes of sonatas and symphonies which, endorsed by Locatelli and Handel, earned him international fame.

Nicolas Scherrer (1747-1821) came from a family of musicians that were particularly active in Genevese musical life in the 18th century. His father, originally from Saint-Gallen, was the renowned organ factor Samson Scherrer, who built, among others, the organs installed in Saint-Pierre Cathedral in 1757 and in the Fusterie church in 1763. His brother Jean-Jacques was, like himself, composer, music master and organist; as for his sister Suzanne, she ran a music engraving workshop at the Bourg-de-Four. Nicolas Scherrer is a figure of the Genevese musical life who is happily being rediscovered nowadays.

Friedrich Schwindl (1737-1786) was probably born in Amsterdam. Violinist, flautist and pianist, he first came to attention in Germany where he obtained prestigious placements (Konzertmeister of the Margrave of Wied-Runkel, chamber musician of the Count of Colleredo) before setting off on a journey through Europe. Arriving in Geneva around 1773, he remained there until 1778, being extremely active as music master, composer and often performing in public concerts. Although Schwindl is mostly known for his symphonies - which were performed in the “Concerts Spirituels” in Paris - his chamber music works show great refinement and belong to the musical aesthetics of the period, between Baroque and Classicism. Corinne Walker

Tracklist:

CD1
01. Symphonie en Sol majeur, Op. 6 No. 3: I. Allegro
02. Symphonie en Sol majeur, Op. 6 No. 3: II. Andante allegretto
03. Symphonie en Sol majeur, Op. 6 No. 3: III. Presto
04. Symphonie en Sol mineur, Op. 6 No. 6: I. Allegro
05. Symphonie en Sol mineur, Op. 6 No. 6: II. Andante
06. Symphonie en Sol mineur, Op. 6 No. 6: III. Presto
07. Symphonie en Mi bémol majeur, Op. 10 No. 3: I. Largo-Allegro
08. Symphonie en Mi bémol majeur, Op. 10 No. 3: II. Andante
09. Symphonie en Mi bémol majeur, Op. 10 No. 3: III. Menuetto
10. Symphonie en Mi bémol majeur, Op. 10 No. 3: IV. Presto
11. Symphonie en Do majeur, Op. 10 No. 1: I. Allegro molto
12. Symphonie en Do majeur, Op. 10 No. 1: II. Andante
13. Symphonie en Do majeur, Op. 10 No. 1: III. Rondo in Tempo di Menuetto-Grazioso
14. Symphonie en Do majeur, Op. 10 No. 1: IV. Allegro assai

CD2
01. Sonate "en Sinfonie" en Ré majeur, Op. 8: I. Allegro
02. Sonate "en Sinfonie" en Ré majeur, Op. 8: II. Rondo Andantino
03. Sonate pour pianoforte et violon en Fa majeur, Op. 4: I. Allegro
04. Sonate pour pianoforte et violon en Fa majeur, Op. 4: II. Rondo
05. Sonate pour violoncelle et pianoforte en Si bémol mineur, Op. 5: I. Adagio
06. Sonate pour violoncelle et pianoforte en Si bémol mineur, Op. 5: II. Allegro
07. Duo pour violon et violoncelle en Si bémol majeur, Op. 6: I. Allegro moderato
08. Duo pour violon et violoncelle en Si bémol majeur, Op. 6: II. Adagio-Presto
09. Sonate pour violon et basso continuo en Si bémol majeur, Op. 3: I. Allegro
10. Sonate pour violon et basso continuo en Si bémol majeur, Op. 3: II. Adagio
11. Sonate pour violon et basso continuo en Si bémol majeur, Op. 3: III. Allegro

Personnel:
Le Harmoniche Sfere
Violon, Denitsa Kazakova
Violoncelle, Esmé de Vries
Pianoforte, Paolo Corsi

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