A CONCERT AT THE CHATEAU OF THE ROHANS IN
J.P. SCHOENFELD, C. HARST, 8S. DE BROSSARD and I. PLEYEL
EDITH SELIG, Soprano HUGUETTE DREYFUS, Harpsichord
COLLEGIUM MUSICUM OF STRASBOURG ROGER DELAGE, Conductor
Strasbourg at the peak of its fame gives
full of grace and charm for its Prize 4ishop
MORTON GREEN
MEMORIAL
RECORD LIBRARY
..OF CASTLES AND CATHEDRALS
Toe Chateau of the Rohans reflects its grim outlines in the pleasant waters of the river Ill. Here, as elsewhere in Strasbourg, at all times the
chief pleasure has been music. When Versailles was teasing the imagination and envy of all the royal courts of Europe, Strasbourg, an advanced XRATO
outpost of the realm since Alsace had fallen to France in 1681, also felt the need for a palace worthy of entertaining visiting dignitaries of Church
and State. In addition, the restoration of the canons to the cathedral (they had been “exiled” to Molsheim at the time of the Reformation) prompted |
the first Prince-Bishop of Strasbourg, Cardinal Armand Gaston Rohan-Soubise to build an episcopal palace. Plans for the building were drafted
by the King’s architect, Robert de Cotte, who had succeeded to Mansart’s post. The actual construction under the dtrection of the architect Massol
lasted from 1730 to 1742. Many scenes of historical importance took place here, such as the memorable spectacle and musical celebration (from
October 5 to 10, 1744) when Louis XV the “Well Beloved” was feted after his miraculous restoration to health. Thereafter, the palace became
the traditional fwst home of future queens or empresses of France before they arrived in Paris. It was there that Marie-Joséphe of Saxony, Marie-
Antoinette of Austria, and Marie-Louise of Lorraine and Austria exchanged their foreign entourages for French attendants. Also associated with
it is Louis de Rohan, notorious in “the affair of the Queen’s necklace’, Napoleon I who entered its walls as a conqueror, Charles X, and finally
Louis-Philippe who turned the building over to the city. Its status then was changed from palace to university. Now, it is the home of the
Museum of Fine Arts, its interior décor preserved where possible and restored where necessary. Set like a precious stone in a lovely spot in
the shadow of the cathedral’s lofty spire, this beautiful example of eighteenth-century classic French architecture in all its grandeur personifies the
pride of the Rohans whose motto was, “Roi ne suis, Prince ne daigne, Rohan suis”. (It is impossible to convey in translation the pun that 1s
heard in the French where, despite their different meanings, the first and last phrases sound identical. Literally: “I am not the king; I would not
be a prince; I am Rohan.’’) | 7 |
A Concert at the Chateau of ne Rohans in
STRASBOURG
Side 1:
FATHER CELESTIN HARST (1698-1776)
SUITE No. 3 in F Major for the Harpsichord
1. La tendresse (Show of affection) ©
2. Le bon garcon (An agreeable young man)
3. Le sans-souci (The man without a care in the world)
4
. Les innocents (The young without knowledge
of the ways of the world)
. La flatteuse (A beguiling girl)
. La galanterie (Courtly graces and manners)
Huguette DREYFUS, Harpsichord (Neupert)
(By permission of Valois Records)
Edith SELIG, Soprano
Marc SCHAEFFER, Harpsichord
Camille FARLET, Viola da gamba
There are many people to whom the name Pleyel means nothing
or denotes only the founder of the famous piano factory in Paris
in 1807—a factory which still bears his name. Nevertheless, towards
the end of the eighteenth century, he was for a time the chief rival
of Haydn who judged him to be his outstanding pupil. Mozart, too,
was aware of his merits and described his music as well-written
and very pleasing to hear; he considered him to be a worthy
follower in his master’s footsteps. |
Born near Vienna and brought up in Austria and Italy, Pleyel
chose France as the country of his adoption when he was twenty-six
years old; at the time, he had been invited to Strasbourg to assist
Franz Xaver Richter whom he succeeded as choirmaster of the
cathedral in 1789. In 1792, his concerts in London gave stiff com-
petition to those of Haydn, but master and pupil remained good
friends in spite of this. On coming to Paris, he founded a publish-
ing house and then a piano factory; in addition, this business man
plunged into composing music.
The Strasbourg years of Pleyel (1783 to 1793) were the most
prolific in his musical life. It was there that he wrote most of his
compositions among which were fifty symphonies that were the
delight of listeners at Strasbourg’s Concerts Amateurs and Concerts
Schoenfeld-Pleyel. The symphonies are well constructed and full of
charm and elegance. These qualities abound in the Symphonie
Periodique No. 6 (1790) with its orchestra composed of two oboes
and two horns joined to a string quartet. The work has all the main
features of the Viennese school—a certain gaiety, vivacious rhythm,
disarmingly simple and warm-hearted melodies, and a folk-like tone
which Pleyel knew how to combine with nobility of style. His
themes like those of his teacher often catch the outstanding grace
Give this fine long-playing record a LONG LIFE. ..
CHECK YOUR STYLUS OFTEN! iy
Keep it CLEANandin PERFECT CONDITION... ee =
Side 1 (cont.):
SEBASTIEN DE BROSSARD (1655-1730)
FOUR AIRS for Soprano and Basso Continuo |
1. Ne crois pas, folatre berger (Air serieux)
(Think not, wanton shepherd lad)
2. Sur le passage des allemands en Alsace
(On the invasion of Alsace by German tribes)
3. En vain je languis (Air a boire) (In vain I pine)
4, Coridon et Cloris sur la verte fougere (Air serieux)
(Coridon and Cloris in the greenwood)
Side 1 (cont.):
JOHANN PHILIPP SCHOENFELD (1742-1790) |
TWO AIRS for Soprano and Basso Continuo |
1. Holdes Maedchen (Sweet girl) — from — |
“Lieder aus der Iris an Chloe” ~ :
2. Die alten Zecher (The old revelers) —
-* from “Neue Lieder |
Side 2: |
IGNACE PLEYEL (1757-1831)
SYMPHONIE PERIODIQUE No. 6 in F Major
(Reconstruction: Fernand Oubradous)
1. Allegro commodo 3. Menuetto
2. Adagio 4. Finale (Vivace)
COLLEGIUM MUSICUM OF THE UNIVERSITY OF STRASBOURG
Roger DELAGE, Conductor
of folk dances. Of the four usual movements, the first, allegro
commodo, in classic sonata form is based on two themes which
seem quite similar because of the hopping rhythm of their repeated
notes. The slow movement, Adagio, begins in a tender and songful
vein like Mozart and proceeds to a more excited central action. The —
Trio du menuet joins charming echo effects to the rustic sound of-
oboes and horns, and in the finale, the folk-like dancing charm of
the second theme is a charming counterpart of the grace of the first.
Born in Sélestat in Alsace, Célestin Harst enjoyed a .reputation.
as the best harpsichord player of his time and was even summoned
to play before Louis XV when he paid a visit to Strasbourg in
1744. This Benedictine monk became the prior of the Abbey of
Ebersmuenster. He published an interesting Collection of Various
‘Harpsichord Selections in 1745 in which he shows the unmistakable
influence of the French school. Like Couperin, he arranges his
selections in ‘“‘ordres’’ or suites, writes always in binary form or
rondos, and uses descriptive titles. His specialty was sketches of
people, types, or genre tableaux. The boldness of his harmony as
regards key-changes and chromaticism as well as an approach that
is already pianistic show his affinity to Rameau. His Suite No. 3
concentrates on various types of sweetness in its six musical sketches.
The lovely prelude of La tendresse is followed by the disarming
simplicity of Bon gargon. Then, following the frolicsome light-
heartedness of Sans-souct comes the artless naivete of Les innocents.
La flatteuse is a likable rondo full of tender feeling, and the suite
concludes with a delightful and slightly mannered Galanterie.
Sebastien de Brossard, a Norman, dedicated himself completely
to music at an early age. In 1687, at the age of thirty-three, he
came to Strasbourg as a prebendary canon attached to the cathedral.
the musical heritage society inc.
1991 BROADWAY, NeW YORK, N. y. 10023
He was self-taught in music but so gifted that he was named choir-
master of the cathedral in 1689 and, by dint of much effort, became
known as a skillful composer. He also was the founder of the
Academy of Music which presented the French operas of the time. ©
For small musical groups in Strasbourg, Brossard composed many
secular songs for one, two, or three voices; these were published in
Paris between 1691 and 1698 as “‘A Collection of Airs Sérieux and
Airs a Boire’”’ for voice and an accompaniment’ of harpsichord and
viola da gamba. From this fascinating six-volume anthology, four.
songs are presented on this record. The songs are short and charm-
ing, and their archaic, somewhat Italianate flavor attest to Brossard’s
being a close follower of Lully.
Schoenfeld was born in Strasbourg and had the advantage of
excellent musical training at St. William’s Academy. During a stay
in Brunswick, he became acquainted with Bach. In his native city,
he became choirmaster at the New Temple in 1777 and continued
in this post as well as taking on the duties of Director of Municipal
Concerts beginning with 1781. He, therefore, did much fine work
not only in the domain of religious music but in planning public
concerts for his fellow-townsmen. In addition to numerous cantatas
from his pen, Schoenfeld has left several collections of songs with
harpsichord accompaniment such as his “Lieder aus der Iris” and
‘Neue Lieder” from which Holdes Maedchen and Die alten Zecher
have been taken. As was customary at the time, the accompaniment
still follows the song note for note to give it support, and the
melody has certain Italian characteristics, but the freshness of his
melodic and harmonic invention contrive to evoke the grace of
Mozart’s Das Veilchen at the same time as they foreshadow the
Romanticism of Schubert. —R. KoprF
Translated from the French by ELLEN A. LEBOW.
Sip TAYLor, Tape Editor
COLUMBIA STUDIOS
AN ERATO — MusIcAL HERITAGE SOCIETY CO-PRODUCTION
Library of Congress Catalog No.
Mono—R67-3452
Stereo—R67-3453
An ERATO-MUSICAL HERITAGE SOCIETY CO-PRODUCTION
STEREO MHS 792
Side 1 2 (C- 13
XSV 103887
Concert at the Chateau of the Rohans in
STRASBOURG
CELESTIN HARST
SUITE NO. 3 in F MAJOR for Harpsichord
1. La Tendresse 2. Le bon garcon 3. Le sans-souci
4. Les innocents 5. La flatteuse 6. La yalanterie
Huguette DREYFUS, Harpsichord (Neupert)
SEBASTIEN DE BROSSARD
4 AIRS for Soprano and Basso Continuo
1. Ne crois pas, folatre berger 2. Sur le passage des
Allemands en Alsace 3, En vain je languis
4. Coridon et Cloris sur la verte fougere
JOHANN PHILIPP SCHOENFELD
2 AIRS for Soprano and Basso Continuo
1. Holdes Maedchen (from ‘‘Lieder
aus der Iris an Chloe’’)
2. Die alten Zecher (from ‘‘Neue Lieder’’)
Edith SELIG, Soprano
Marc SCHAEFER, Harpsichord
Camille FARLET,
Viola da gamba
An ERATO-MUSICAL HERITAGE SOCIETY CO-PRODUCTION
STEREO MHS 792
Side 2 & (C13
XSV 103888
Concert at the Chateau of the Rohans in
IGNACE PLEYEL
SYMPHONIE PERIODIQUE No. 6 in F MAJOR
(Reconstruction: Fernand Oubradous)
1, Allegro commodo 2. Adagio
3, Menuetto 4. Finale (Vivace)
COLLEGIUM MUSICUM OF STRASBOURG
Roger DELAGE, Conductor
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