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Trio for violin, violoncello and piano
Классика/Камерная музыка • 1928
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Trio for violin, violoncello and piano
Название пользователя: Jacques Leguerney: Trio for violin, violoncello and piano
Инструменты |
Фортепиано, Скрипка, Виолончель |
Состав исполнителей |
Трио |
Тип нот |
Партитура, Партии |
Части |
1 до 3 из 3 |
Издатель |
Musik Fabrik |
Уровень сложности |
Выше среднего |
Время звучания |
18'0 |
French composer Jacques Leguerney (1906-1997) has been recognized for his outstanding oeuvre of songs for voice and piano, mostly composed upon poems of the French poets of the Pleiade. After his death, the Leguerney Estate decided to allow the publication of his instrumental chamber music. These works, many of which were written in his early years, are valuable contributions to the French chamber music repertoire, representing the 20th century from its early years through World War II.
This Trio was composed in 1928, but not performed until December 3, 1932. The respected French musicians Hortense de Sampigny (violinist) and Jacques Serres (cellist) gave its first and, as far as we know, only performance along with Leguerney’s friend and mentor, Thérèse Cahen, at the piano. The concert including this work was organized by the Société Musicale Indépendante at the concert hall of the Ecole Normale de Musique in Paris. A review, in the Journal des débâts, reads: “We do not know this composer. Judging from his composition, whose variegated style reminds us of [Cesar] Franck, of Maurice Ravel and of Spanish dances, he must be quite young.”
The same month as this performance, Leguerney’s father, Marcel Leguerney, died. At this point, he interrupted his musical activity in order to take over his father’s business to support his mother and sister. He was not able to resume musical composition until 1940, when the outbreak of the war led him to close the business.
This edition is based upon two autograph manuscript sources of the full score, as well as copyist’s parts for the violin and ‘cello. His first completed sketch as well as his final copy are in the Leguerney archives. The parts, made by a copyist, were obviously used for a performance, and contain suggested phrasing, as well as bowings (which we have not reproduced). We surmise that the violin and ’cello parts were used for the first performance. We also think that Thérèse Cahen must have kept her piano score, as the copyist's score of it was not found with the other parts. We have added rehearsal numbers, and corrected a few notational mistakes in the manuscript.
We would like to thank Jean Libermann, cellist, and Marion Larigaudrie, violinist, for their advice in the preparation of this editio
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