Accompanied by the Frankfurt Radio Symphony Orchestra under the baton of the great conductor Christoph Eschenbach, the award-winning French cellist Bruno Philippe performs Joseph Haydn's Cello Concerto No.1 in C major. The concert was recorded at Alte Oper Frankfurt, on September 29, 2017.
Composed between 1761 and 1765 for Joseph Weigl, a gifted cellist in Haydn's Esterházy orchestra, this concerto was presumed lost until 1961, when it turned up the National Museum in Prague among documents originally from Radenin Castle. High virtuosity is demanded of the cellist, as in the Sixth, Seventh, and Eighth Symphonies (in which Haydn provided solos especially for Weigl). What Haydn did not provide are authenticated cadenzas for the first and second movements; cellists generally employ either anonymous eighteenth century cadenzas, or those prepared since 1961.
The first movement, marked Moderato, begins with a confident, courtly theme with dotted rhythms; in contrast, the second subject is softer and more sinuous, establishing a more lyrical mood. The mildly syncopated orchestral exposition ends with Lombardic rhythms at the conclusion of the orchestral introduction. When the cello enters and takes command of the themes, it launches the first theme with a resonant C major chord, eventually presenting each melody in an increasingly ornate manner. The development engages the cellist in intense passagework derived from the primary theme, while reappearances of the second subject allow the soloist to sing more expansively. Haydn works through the theme groups in sequence twice before reaching the cadenza and a brief coda derived from the movement's opening measures.
The Adagio dispenses with the orchestra's oboes and horns, leaving the soloist to emerge from the sound of the string orchestra with a long, powerfully expressive note. The noble, somewhat melancholic, first theme requires an especially strong tone from the cello, while its answering subject calls for double stops. The movement's shadowy middle section derives from a theme almost as austere as one from a Baroque church sonata, yet encourages the cellist to play with a warm, expressive tone. The third section is an abbreviated repetition of the first one.
Last comes an Allegro molto finale which pretty much follows the ritornello form found in many Vivaldi concertos. The orchestra establishes a fleet theme that recurs, as in a rondo, throughout the rest of the movement. As in the slow movement, almost every time the cello enters, it emerges from the orchestra with a single, long note; this time, however, the long note metamorphoses into a rapidly ascending C major scale. However, while expected to execute intricate high-register passagework which includes rapid scales, the cellist also has an opportunity to interpret melodic phrases of exceptional lyricism.
Source: James Reel (allmusic.com)
Joseph Haydn (1732-1809)
♪ Cello Concerto No.1 in C major, Hob.VIIb/1 (1761-1765)
iii. Allegro molto
Bruno Philippe, cello
hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra)
Conductor: Christoph Eschenbach
Alte Oper Frankfurt, September 29, 2017
Bruno Philippe was born in 1993 in Perpignan, France. There, he began studying the cello with Marie-Madeleine Mille and regularly attended Yvan Chiffoleau's masterclasses. In 2008, he pursued his studies at the CRR in Paris in the class of Raphael Pidoux. In 2009 he was unanimously accepted by the Paris National Conservatory of Music and Dance in the class of Jerome Pernoo and joined Claire Desert's chamber music class. Subsequently, he participated in the masterclasses of David Geringas, Steven Isserliss, Gary Hoffman, Pieter Wispelwey and Clemens Hagen at the Mozarteum in Salzburg. Since October 2014, he has been studying as a young soloist at the Kronberg Academy with Frans Helmerson.
In November 2011, he won the third Grand Prix and the Best recital at the André Navarra International Competition. In September 2014, he won the third prize and audience prize at the International Competition of the ARD in Munich. He won a Special Prize at the International Tchaikovsky Competition in June 2015 and the Special Prize in recognition of an outstanding performance at the Grand Prix Emmanuel Feuermann in Berlin in November 2014. In 2015, Bruno Philippe was appointed Révélation Classique of the ADAMI, and in 2016, he won the Prix pour la musique of the Safran Foundation dedicated to cello. In 2017, he is laureate of the prestigious Queen Elizabeth Competition in Brussels.
Bruno Philippe has been invited to appear at the Kammersaal of the Berlin Philharmonia, La Cité de la Musique, the Théâtre des Bouffes du Nord, Salle Gaveau and Salle Pleyel in Paris, the Halle aux Grains in Toulouse, the Kursaal in Besançon, the Alte Oper in Frankfurt and to play with the Bayerische Rundfunk, the Münchener Kammerorchestrer, the Orchestre Philarmonique de Monte-Cazrlo, or else the Orchestre National du Capitole, Toulouse. He has also performed at the Festival Pablo Casals in Prades, the Festival de Pâques in Aix-en-Provence, La Folle Journée de Nantes, the Rheingau Musik Festival, the Mecklenburg-Vorpommern Festival, the Festival Radio France de Montpellier, at La Roque d'Anthéron, the Amsterdam Cello Biennale, the Mozartfest Würzburg, the Munich BR Studio, Schwetzinger SWR-Festspiele, the Rheingau Musik Festival...
He has also had the chance to play with many renowned musicians: Gary Hoffman, Tabea Zimmermann, Gidon Kremer, Christian Tetzlaff, David Kadouch, Alexandra Conounova, Renaud Capuçon, Jérôme Ducros, Antoine Tamestit, Sarah Nemtanu, Lise Berthaud, Christophe Coin, Jérôme Pernoo, Raphaël Pidoux, Emmanuelle Bertrand, as well as Violoncelles Français or Les Dissonances (David Grimal).
During the next few months, Bruno Philippe can be seen in concertos, above all with the Radio-Sinfonie-Orchester Frankfurt and Orchesterakademy of the Schleswig-Holstein Musik Festival conducted by Christoph Eschenbach, with the Orchestre Dijon-Bourgogne conducted by Gabor Takacs-Nagy, with the Orchestre de la Garde Républicaine or else the Junges Sinfonieorchester Münster. He will be performing at the Konzerthaus in Berlin, the Auditorium du Louvre in Paris, the Alte Oper in Francfort, Salle Cortot in Paris, the Festival de Pâques de Deauville, the Chorégies d'Orange, or else Les Victoires de la Musique Classique at the Auditorium de Radio-France, Paris.
His first album, devoted to Brahms's Sonatas, recorded with the pianist Tanguy de Williencourt for the Evidence Classic label, came out in 2015. In 2017 he joins the label Harmonia Mundi and releases a new album around Beethoven and Schubert's sonatas, with Tanguy de Williencourt.
He was also awarded scholarships from the Safran Foundation for music, the Raynaud-Zurfluh Foundation, the Rheingold Foundation, the AMOPA, the Banque Populaire Foundation, and in August 2014 won the Nicolas Firmenich price at the Verbier Festival. He also received the support of the "Christa Verhein-Stiftung" for his studies at the Kronberg Academy.
Bruno Philippe plays a fine Tononi cello kindly loaned to him through the Beare's International Violin Society.
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