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Arthur Honegger - Jeanne D'Arc Bucher.

Chœurs de radio france & orchestre National de france feat conductor seiji ozawa

Joven Orquesta Nacional de España

Direction: Edmon Colomer

Classical | Release year 1991 | 1 Cd | Covers

Arthur Honegger (10 March 1892 – 27 November 1955) was a Swiss composer, who was born in France and lived a large part of his life in Paris. He was a member of Les Six. His most frequently performed work is probably the orchestral work Pacific 231, which is interpreted as imitating the sound of a steam locomotive.

Born Oscar-Arthur Honegger (the first name was never used) in Le Havre, France, he initially studied harmony and violin in Paris, and after a brief period in Zürich, returned there to study with Charles-Marie Widor and Vincent d'Indy. He continued to study through the 1910s, before writing the ballet Le dit des jeux du monde in 1918, generally considered to be his first characteristic work. In 1926 he married Andrée Vaurabourg, a pianist and fellow student at the Paris Conservatoire. They had one daughter, Pascale, born in 1932. Honegger also had a son, Jean-Claude (1926-2003), with the singer Claire Croiza.

In the early 1920s Honegger shot to fame with his "dramatic psalm" Le Roi David ("King David"), which is still in the choral repertoire. Between World War I and World War II, Honegger was very prolific. He composed the music for Abel Gance's epic 1927 film, Napoléon. He composed nine ballets and three vocal stage works, amongst other works. One of those stage works, Jeanne d'Arc au Bûcher (1935), a "dramatic oratorio", is thought of as one of his finest works. In addition to his works written alone, he collaborated with Jacques Ibert on both an opera, L'Aiglon (1937), and an operetta. During this time period he also wrote Danse de la Chèvre (1921), an essential piece of flute repertoire. Dedicated to René Le Roy and written for flute alone, this piece is lively and young, but with the same directness of all Honegger's work.

Honegger had always remained in touch with Switzerland, his parents' country of origin, but with the outbreak of the war and the invasion of the Nazis, he found himself unable to leave Paris. He joined the French Resistance and was generally unaffected by the Nazis themselves, who allowed him to continue his work without too much interference. However, he was greatly depressed by the war. Between its outbreak and his death, he wrote his last four symphonies (numbers two to five) which are among the most powerful symphonic works of the 20th century. Of these, the second, for strings, featuring a solo trumpet which plays a chorale tune by Johann Sebastian Bach in the final movement, and the third, subtitled Symphonie Liturgique with its three movements evoking the Requiem Mass (Dies Irae, De profundis clamavi and Dona nobis pacem), are probably the best known. Written in 1946 just after the end of the war, it has parallels with Benjamin Britten's Sinfonia da Requiem of 1940. In complete contrast with this work is the lyrical, nostalgic Symphony No. 4, subtitled "Deliciae Basilienses" ("The Delights of Basel") and written as a tribute to days of relaxation spent in that Swiss city during the war.

Honegger was widely known as a train enthusiast, and once notably said: "I have always loved locomotives passionately. For me they are living creatures and I love them as others love women or horses." His "mouvement symphonique" Pacific 231 (a depiction of a steam locomotive) gained him early notoriety in 1923.

His works were championed by his long time friend Georges Tzipine, who conducted the premiere recordings of some of them (Cris du Monde oratorio, Nicolas de Flüe).

In 1953 he wrote his last composition, A Christmas Cantata. Arthur Honegger died at home of a heart attack on 27 November 1955 and was interred in the Cimetière Saint-Vincent in the Montmartre Quarter of Paris.

The principal elements of Honegger's style are: Bachian counterpoint, driving rhythms, melodic amplitude, highly coloristic harmonies, an impressionistic use of orchestral sonorities, and a concern for formal architecture. His style is weightier and more solemn than that of his colleagues in Les Six. Far from reacting against German romanticism as the other members of Les Six did, Honegger's mature works show evidence of a distinct influence by it. Despite the differences in their styles, he and fellow Les Six member Darius Milhaud were close friends, having studied together at the Paris Conservatoire. Milhaud dedicated his fourth string quintet to Honegger's memory, while Francis Poulenc similarly dedicated his Clarinet Sonata.

Honegger is currently featured on the Swiss twenty franc banknote.

Tracklist

01. Jeanne d'Arc au b–cher, Prologue Tenebres ! Tenebres !

02. Jeanne d'Arc au b–cher, Prologue Il y eut une fille appel‚e Jeanne !

03. Jeanne d'Arc au b–cher, ScŠne I (Les Voix du Ciel)

04. Jeanne d'Arc au b–cher, ScŠne II (Le Livre) Jeanne ! Jeanne ! Jeanne !

05. Jeanne d'Arc au b–cher, ScŠne III (Les Voix de la Terre) Jeanne ! Jeanne ! Jeanne !

06. Jeanne d'Arc au b–cher, ScŠne IV (Jeanne livr‚e aux Bˆtes) La Cour ! Faites silence !

07. Jeanne d'Arc au b–cher, ScŠne IV (Jeanne livr‚e aux Bˆtes) Qui sont les assesseurs

08. Jeanne d'Arc au b–cher, ScŠne V (Jeanne au Poteau) Quel est ce chien qui hurle dans la nuit

10. Jeanne d'Arc au b–cher, ScŠne VII (Catherine et Marguerite) Quelles sont ces cloches dans la nuit

11. Jeanne d'Arc au b–cher, ScŠne VIII (Le Roi qui va-t-… Rheims) Voulez vous manger des cesses

12. Jeanne d'Arc au b–cher, ScŠne VIII (Le Roi qui va-t-… Rheims) Aspiciens a longe

13. Jeanne d'Arc au b–cher, ScŠne VIII (Le Roi qui va-t-… Rheims) C'est moi qui ait fait cela !

14. Jeanne d'Arc au b–cher, ScŠne IX (L'Ep‚e de Jeanne) Spera ! Spira ! Spera ! Spira !

15. Jeanne d'Arc au b–cher, ScŠne IX (L'Ep‚e de Jeanne) Rouen ! Rouen ! Rouen !

16. Jeanne d'Arc au b–cher, ScŠne X (Trimaz“) Un petit brin de vot' farine

17. Jeanne d'Arc au b–cher, ScŠne XI (Jeanne d'Arc en Flammes) J'accepte cette flamme pure

18. Jeanne d'Arc au b–cher, ScŠne XI (Jeanne d'Arc en Flammes) MŠre ! MŠre au dessus de moi !

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