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Track(s) taken from CDH55396

Morceau de concert, Op 62

1880; dedicated to Ovide Musin; an alternative to the first movement of Saint-Saëns's Violin Concerto No 3 in B minor, Op 61

Philippe Graffin (violin), Ulster Orchestra, Thierry Fischer (conductor)
Recording details: June 2001
Ulster Hall, Belfast, United Kingdom
Produced by Chris Hazell
Engineered by Simon Eadon
Release date: March 2002
Total duration: 10 minutes 27 seconds

Cover artwork: The Maures Mountains (1906/7) by Henri-Edmond Cross (1856-1910)
Private Collection / © Christie's Images / Bridgeman Art Library, London


'Here, with a warm-blooded Ulster orchestra in support, [Graffin] brings a host of rare works to the fore. All are rewarding' (The Strad)

'This is exactly the kind of disc that Hyperion has perfected over many years. Originally released roughly a decade ago to considerable acclaim it is now re-released on their budget Helios label. Excellence of this calibre available at bargain price makes it all but compulsory for anyone interested in rare repertoire for the violin who missed it first time around' (MusicWeb International)

'One of the most charming discs of French music it has been my pleasure to review … [the pieces] could well have been written for Graffin’s silky smooth playing, each work so lovingly shaped, the fast passages despatched with an easy virtuosity. In Fischer and the admirable Ulster Orchestra, Graffin has devoted colleagues, the engineers adding icing to the cake' (Yorkshire Post)
The Morceaux de concert by Fauré and Camille Saint-Saëns are contemporaneous and were not only written for the same violinist but were also both intended as the first movement of a major concerto—in Saint-Saëns’s case his Violin Concerto No 3 in B minor, Op 61 (1880), written and dedicated, yet again, to Sarasate. In reworking his Caprice brillant, a duo for violin and piano written for himself and Sarasate fourteen years before, Saint-Saëns saved his Concerto in B minor from a fate similar to Fauré’s Concerto. However, he shared with his former student a long struggle to complete its first movement: numerous sketches testify to this hesitation. The Morceau de concert, Op 62 (1880), was once considered as an alternative to this movement. Ovide Musin was available to learn it and the work was published that year and dedicated to him.

from notes by Philippe Graffin © 2002

Les Morceaux de concert de Fauré et de Camille Saint-Saëns sont des pages contemporaines. Non seulement, ils se partagent le même violoniste, mais ils furent en fait tous les deux conçus comme premier mouvement d’un concerto majeur. Dans le cas de Saint-Saëns, il s’agit du Concerto pour violon no 3 en si mineur op. 61 (1880), écrit et dédié à nouveau à Sarasate. En remaniant son Caprice brillant, un duo pour violon et piano écrit pour lui-même et Sarasate quatorze ans auparavant, Saint-Saëns sauva son Concerto en si mineur d’un destin similaire à celui de Fauré. Pourtant, comme pour son ancien étudiant, ce n’est pas sans une longue lutte que le premier mouvement vint au monde: une profusion d’esquisses atteste de ses hésitations. Le Morceau de concert op. 62 (1880) fut même considéré un temps comme une alternative possible. Ovide Musin était disponible, il créa l’œuvre qui fut publiée cette année-là et qui lui fut dédiée.

extrait des notes rédigées par Philippe Graffin © 2002
Français: Isabelle Battioni

Die Morceaux de concert von Fauré und Camille Saint-Saëns stammen aus der selben Zeit und haben nicht nur den Geigensolisten gemeinsam, sondern auch die Tatsache, daß beide als Kopfsatz eines großen Konzertes gedacht waren. Im Fall von Saint-Saëns ist es sein Drittes Violinkonzert in h-Moll op. 61 (1880), wiederum für Sarasate geschrieben und ihm gewidmet. Indem er sein Caprice brillant, ein vierzehn Jahre zuvor für sich selbst und Sarasate geschriebenes Duett für Geige und Klavier, neu bearbeitete, bewahrte Saint-Saëns sein Konzert in h-Moll vor einem vergleichbaren Schicksal wie Faurés Konzert. Allerdings hatte er mit seinem ehemaligen Schüler den langen Kampf um den ersten Satz gemeinsam: Zahlreiche Skizzen bestätigen diese Vermutung. Das Morceau de concert op. 62 (1880) wurde einmal als Variante zu ihm erachtet. Ovide Musin stand zur Verfügung, um es einzustudieren, und das Werk wurde im gleichen Jahr veröffentlicht und ihm gewidmet.

aus dem Begleittext von Philippe Graffin © 2002
Deutsch: Anne Steeb/Bernd Müller

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