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Vanessa Wagner

Piano

Franz Schubert

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Enregistr en juin 2010 au / recorded in June 2010 at: Thtre-Auditorium de Poitiers, France
Direction artistique/ artistic direction:
Nicolas Bartholome
Prise de son / sound recording:
Nicolas Bartholome & Victor Laugier
Editing et mastering:
Victor Laugier
Remerciements / thanks to: Stephan Maciejewski ;
Vanessa Wagner remercie Franois-Xavier Bilgier et Clara Wagner pour leur aide prcieuse
Photos Caroline Doutre
Fabriqu en France / made in France

Apart Little Tribeca


1 rue Paul Bert, 93500 Pantin, France
www.littletribeca.com | nicolas.bartholomee@littletribeca.com | Phone: +33612821867
2010 Apart - AP008

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Vanessa Wagner
Piano

Franz Schubert

Franz Schubert (1797-1828)

Quatre Impromptus, D899


Four Impromptus, D899
1 N1 en ut mineur / in C minor: Allegro molto moderato 10.17
2 N2 en mi bmol majeur / in E flat major: Allegro 04.37
3 N3 en sol bmol majeur / in G flat major: Andante 06.13
4 N4 en la bmol majeur / in A flat major: Allegretto 07.12

Sonate pour piano n13 en la majeur, D664


Piano sonata n13 in A major, D664
5 Allegro moderato 08.41
6 Andante 05.26
7 Allegro 08.18

Sonate pour piano n14 en la mineur, D784


Piano sonata n14 in A minor, D784
8 Allegro giusto 13.07
9 Andante 04.02
10 Allegro vivace 04.51

Total 72.52

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propos
Un de mes tout premiers souvenirs musi-
caux, est davoir souvent entendu rson-
ner dans ma maison natale, les Impromptus
D899 interprts par Alfred Brendel.
Indfectiblement lie mon enfance, la
musique de Schubert a nourri mon imaginaire,
et ne ma plus jamais quitte depuis, maccompa-
gnant fidlement de sa profonde mlancolie, tel
un cho intrieur, toujours prt spanouir.
Mais si le temps et la distance taient nces-
saires, jouer Schubert aujourdhui sonne pour moi
comme une vidence, presque une ncessit

Sa musique dit lindicible, cette magie


de lintime qui touche lindividu, mais parle
luniverselle solitude de ltre.
Il fait de nous le confident de sa peine, de sa douleur,
un double imaginaire auquel le compositeur semble
sadresser, rappelant ces vers dHeinrich von Kleist :
Auprs de moi venait sasseoir
Un tranger vtu de noir,
Qui me ressemblait comme un frre.

Quand Mozart ou Haydn, rsolument humains,


expriment autant la joie, lhumour, la tendresse,
que la tristesse, le drame ou le tragique, quand
Beethoven nous entrane dans son dialogue avec le
transcendant, Schubert, lui, nous prend par la main,
et sadresse ltre profond, solitaire et tourment.
Son univers sombre, introverti, nostal-
gique, sclaire parfois de la douce lumire dun
bonheur devenu illusoire et inaccessible.
La joie y est toujours diffuse, comme drape,
elle ne spanouit jamais tout fait, comme dans la
petite Sonate en la Majeur D664, souvent dcrite
comme un havre de paix retrouve, o certains voient
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mme de la joie de vivre. Et pourtant, si Pourtant, sa musique nest jamais plain-
elle rayonne, cest dun soleil voil, dun tive, impudique, sa douleur jamais drama-
bonheur perdu, lointain, dun sourire tise ou pesante. Son criture balaie los-
peine esquiss. Et le deuxime mou- tentatoire, le dclamatoire, mme quand
vement, par son chant poignant, nous le drame gronde, que linquitude domine,
ramne lessentiel de Schubert. comme dans la Sonate en la mineur D 784.
Car cest bien le sentiment de soli- Langoisse est drape dombres et de mys-
tude extrme, originelle, absolue qui tres, les contrastes se font plus violents
prend le dessus -comme dans la pre- mais lagitation reste sourde et contenue.
mire phrase du premier Impromptu,
si douloureuse, affreusement dsole. Enfin, linfinie tendresse, la douceur
extrme, la posie dbordante de
Schubert, plutt que de combattre sensualit resurgissent toujours au
cette mlancolie, de se tromper lui- dtour dune miraculeuse modulation,
mme, plutt que de trouver des sub- apaisant les maux et les tourments.
terfuges, prend plaisir explorer coins Cela nous dit plus que tout qui tait
et recoins de sa tristesse, avec une Schubert: un tre seul, en proie la diffi-
lancinante fascination, peut-tre mme cult dtre, limpossibilit de communi-
un certain masochisme, qui rappelle quer et de trouver sa place en ce monde
laphorisme de Victor Hugo, La mlan- -lui qui, quelques jours avant sa mort
colie, cest le bonheur dtre triste. crivait un ami, Ai -je vraiment une
Il nous emmne travers ses errances, place sur cette terre?, ou qui aurait pu
ses mandres, ses divines longueurs faire sienne la premire phrase du Voyage
dont parlait si justement Schumann; dHiver tranger je suis venu, tranger
il prend plaisir tirer le temps, avec je reparsmais un tre qui brlait pour-
dlectation, et ces dtours inextricables, tant dun feu intrieur, dbordant damour.
ce manque apparent de direction parfois,
ces redites et reprises si frquentes, Vanessa Wagner
conduisent un sentiment dapesanteur,
de grce immatrielle, contemplative
tels les langueurs descriptives et le temps
thr, comme suspendu, des romans
de Julien Gracq que je chris tant.

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Vanessa
Pianiste curieuse, Vanessa Wagner aime voyager
travers le vaste rpertoire de son instrument, du piano-
forte quelle pratique, la musique de notre temps,
celle de Pascal Dusapin notamment, qui lui a ddi

Wagner
plusieurs pices, et dont elle est linterprte favorite.

Son jeu sensible et rflchi, sa personna-


lit discrte, ses choix artistiques clectiques et
engags, font delle une musicienne singulire.
Premier Prix du Conservatoire national suprieur
de Musique de Paris 17 ans (classe de D. Merlet), elle
entre premire nomme en Cycle de Perfectionnement
(classe de J.F. Heisser). Remarque par Leon Fleisher,
elle intgre ensuite lAcadmie de Cadenabbia, o elle
reoit lenseignement de grands matres tels que D.
Bashkirov, M. Perahia, Fou TSong, A. Weissenberg

Les Victoires de la Musique la consacrent


Rvlation soliste instrumental en 1999.
Elle se produit depuis, dans tous les pays dEu-
rope, en Asie, en Amrique du Sud

Son nom est laffiche des festivals de La Roque


dAnthron, Piano aux Jacobins, Festival dAix en Provence,
Les Folles Journes de Nantes, Festival de Saint-Denis,
Festival international de Sintra, Klavier Ruhr Festival,
Wiltz Festival, Musica de Strasbourg, Festival interna-
tional de Colmar, Festival de Radio-France-Montpellier,
Printemps des Arts de Monte-Carlomais aussi des
grandes salles parisiennes : Pleyel, Gaveau, le Thtre
des Champs-lyses, le Thtre du Chatelt, des Bouffes
du Nord, la Cit de la Musique, lArsenal de Metz, le
Grand Thtre de Provence, le Palais des Beaux-Arts de
Bruxelles, lAcadmie Franz Liszt et lOpra de Budapest,
lOriental Art Center de Shangha, Le Symphony Hall
dOsaka, les Philharmonies de Munich, de Luxembourg
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Chambriste recherche, elle partage
volontiers la scne avec ses amis
musiciens, notamment avec Augustin
Dumay et Sasha Rozhdestvensky dont
elle est une partenaire privilgie.

Sollicite par des chefs tels que C.


Dutoit, M. Plasson, C. Warren-Green,
L. Bringuier, A. Dumay, FX. Roth,
elle joue aux cts de lOrchestre
national de France, Orchestre de la
philharmonie de Munich, Orchestre
philharmonique dOsaka, Orchestre
philharmonique de Lige, Orchestre
national du Mexique, Orchestre phil-
harmonique de Budapest, Orchestre du
Capitole de Toulouse, Orchestre royal
de Wallonie, Orchestre Les Sicles

Ses enregistrements de Rameau,


Mozart, Haydn, Schumann, Brahms,
Rachmaninov, Scriabin, Debussy,
Berio, ont tous t couronns de
nombreuses rcompenses en France
(ffff Tlrama, Choc du Monde de la
Musique, Recommand de Classica),
comme ltranger. Elle a galement
particip une captation de concert
pour Les Pianos de la Nuit de
la Roque dAnthron (Arte / DVD
Mirare, recommand par Classica).
Lors dune coute laveugle organi-
se par le magazine Classica, son disque
Debussy a t prim comme lun des plus
beaux enregistrements de ce rpertoire.
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Le Thtre-
Situ en plein cur de la Ville, le Thtre-
~
Auditorium, dont larchitecture est signe Joao Luis
Carrilho Da Graa, est le plus grand tablissement

Auditorium
culturel de Poitiers (avec une surface totale de
16000 m2, dont 6000 m2 au sol). Sa salle de thtre
de 720 places et son auditorium de 1050 places

de Poitiers
accueillent la saison culturelle du Thtre -Scne
Nationale. Lexceptionnelle acoustique de lAudito-
rium est dj reconnue comme lune des plus belles
dEurope, et la Scne Nationale est trs heureuse
daccueillir partir de 2010 une srie denregis-
trements discographiques, raliss non seulement
par les ensembles en rsidence (Orchestre Poitou-
Charentes, Orchestre des Champs-Elyses, Ars
Nova), mais galement par de prestigieux artistes
dans le cadre de projets de musique de chambre.

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9

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propos
One of my earliest musical memo-
ries is of hearing frequently as a child the
Impromptus D899, played by Alfred Brendel.
Schuberts music is firmly associated with my
childhood, when it nurtured my imagination. And it
has been with me ever since, its melancholy cor-
responding to something that lies deep within me.
Later, it went without saying that I would
play Schubert: it was almost a necessity.

His music expresses the inexpressible; it has


a fascinating intimacy that touches each person
as an individual, while at the same time con-
veying the universality of human solitude.
He makes us the confidant of his pain and sorrow,
his imaginary double, as evoked by Heinrich von Kleist:
Beside me came and sat
A stranger dressed in black,
Who resembled me like a brother.

Mozart and Haydn, both very human, express


joy, humour and tenderness, as much as sadness,
drama and tragedy; Beethoven draws us into a
dialogue with the sublime; but Schubert takes
us by the hand, he whispers to our innermost
being, with its loneliness, its sufferings.
His world is sombre, introverted and nos-
talgic, but sometimes it is brightened by a
gentle glow of happiness but a happiness
that has become illusory and inaccessible.
Joy in his works is always diffuse, never radiant. We
see this in the Little Sonata in A major D664, which
is often described as a return to a haven of peace, and
some people even see in it a certain joie de vivre. But
its sunshine is nevertheless hazy, its smile faint, the
happiness it speaks of lost and faraway. The second
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movement, with its poignant melody, Finally, there is an infinite tender-
expresses the very essence of Schubert. ness, a great gentleness, a very sensuous
The feeling of solitude extreme, poetry in his works: these always reappear
original, absolute gets the upper hand, in the course of a miraculous modulation
as in the first, very painful and terribly to soothe away the pains and sorrows.
desolate phrase of the First Impromptu. This tells us more than anything who
Schubert was: a man who was alone, and
Rather than fighting against that mel- who suffered from the difficulties of
ancholy, trying to pretend it isnt there, existence and the impossibility of com-
Schubert indulges in it, takes pleasure in municating and of finding his place in
exploring its every aspect with a haunt- this world. A few days before he died, he
ing fascination, maybe even a kind of wrote to a friend: Is there really a place
masochism: Melancholy is the pleas- for me on this earth ? The opening words
ure of being sad, wrote Victor Hugo. of Die Winterreise also apply to him:
He takes us with him in his wan- I came here a stranger, As a stranger
derings, his meanderings, his divine I depart. Nevertheless Schubert was
lengths, as Schumann put it; he delights a man who burned with an inner fire,
in stretching out time, making labyrin- a man with a great capacity for love.
thine detours, sometimes apparently
losing direction, frequently repeat- Vanessa Wagner
ing ideas, and thus creating a feeling
of weightlessness, of immaterial and
contemplative grace like the languor-
ous, ethereal descriptions one finds in
the novels of Julien Gracq (which I love)
that seem to be suspended in time.
Yet his music is never plaintive or
immodest, his suffering is never dra-
matic or heavy. In his writing he refuses
the ostentatious, the declamatory, even
when there is drama brewing and anxiety
is predominant, as in the Sonata in A
minor D784. The anguish he expresses
is swathed in shadows and mystery; the
contrasts become more violent, but the
agitation is subdued, held in check.
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Vanessa
Guided by her natural curiosity the pianist Vanessa
Wagner likes to travel through the vast repertoire of
her instrument, from works written for the fortepiano
(which she plays) to compositions of our own time,

Wagner
notably those of Pascal Dusapin, who has dedicated
several pieces to her as his favourite pianist.

With her sensitive and intelligent playing, her discreet


personality and her eclectic and politically committed
artistic choices she is a remarkable musician.

Vanessa Wagner studied the piano in D.Merlets class at


the Paris Conservatoire (CNSM), where she was awarded
a Premier Prix at the age of seventeen, before going on
to join J.F.Heissers class for the advanced course.

Leon Fleisher spotted her and invited her to join


the Cadenabbia Academy (Italy), where her teachers
included, amongst others, Fleisher himself, D.Bashkirov,
M.Perahia, FouTSong and A.Weissenberg.

In 1999 she received a Victoire de la Musique (French


equivalent of the Grammy Awards) as the most promising
young instrumental soloist.

Since then she has appeared all over Europe and in Asia
and South America.

She is billed at many festivals: La Roque dAnthron,


Piano aux Jacobins, Aix-en-Provence, Folles Journes
de Nantes, Saint-Denis, Sintra, Klavier Ruhr, Wiltz,
Musica (Strasbourg), Colmar, Radio-France-Montpellier,
Printemps des Arts (Monte-Carlo), and so on. And
she appears at the major theatres and concert halls in
Paris and elsewhere: Salle Pleyel, Salle Gaveau, Thtre
des Champs-lyses, Chatelt, Bouffes du Nord, Cit
de la Musique; Arsenal (Metz), Grand Thtre de
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Provence, Philharmonic Hall (Munich
and Luxemburg), Palais des Beaux-Arts
(Brussels), Franz Liszt Academy and Opera
House (Budapest), Oriental Art Centre
(Shanghai), Symphony Hall (Osaka)

Greatly in demand as a chamber musician,


she readily shares the stage with her
musician friends, notably Augustin Dumay
and Sasha Rozhdestvensky, with both of
whom she plays regularly.

At the invitation of conductors such as


C. Dutoit, M. Plasson, C. Warren-Green,
L. Bringuier, A. Dumay and F. X. Roth,
she appears as a soloist with the Orchestre
National de France, Orchestre du Capitole
de Toulouse, Orchestre Royal de Wallonie,
Orchestre Les Sicles, the philharmonic
orchestras of Munich, Osaka, Lige and
Budapest, Orquesta Sinfnica Nacional de
Mxico...

Her recordings of Rameau, Mozart, Haydn,


Schumann, Brahms, Rachmaninov, Scriabin,
Debussy and Berio have received excellent
reviews and numerous awards in France
and abroad. She also took part in a concert
recording for Les Pianos de la Nuit at La
Roque dAnthron (Arte / DVD Mirare,
recommended by Classica).

The magazine Classica awarded her a prize


for her CD of music by Debussy, which,
following a blind comparison, emerged
as one of the finest recordings of that
repertoire.
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The
Set in the very heart of the city, the Theatre
and Auditorium of Poitiers (TAP), designed by
~
architect Joao Luis Carrilho Da Graa, is the citys

Thtre-
largest cultural establishment. The Theatre has
a seating capacity of 720, while the Auditorium
seats 1050, with room for 100 musicians on stage.

Auditorium
The Auditorium. has exceptional acoustics,
recognised already as being among the finest in
Europe. From 2010 the Auditorium will also serve

de Poitiers
as a studio for a series of discographic recordings,
made not only by the ensembles in residence at the
TAP (Orchestre Poitou-Charentes, Orchestre des
Champs-lyses, Ars Nova), but also by well-known
artists within the framework of chamber projects.

Translation: Mary Pardoe

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