Name: Paris…désirée
Start: 2024-07-20T00:00:00.000Z
End: 2024-07-20T00:00:00.000Z
Location: Abbaye de Senones

Admin

Festival des Abbayes en Lorraine

Conductor

Daniel Isoir

Orchestra

La Petite Symphonie

Abbaye de Senones

Paris…désirée

Senones

France

Concert

Symphony No. 83 in G Minor, Hob.I:83

Piano Concerto No. 9 in E-flat major, K. 271

Sinfonia concertante in E-flat for violin and viola, K. 364

Larissa Andrea Pereira

Approved

>IN A FEW WORDS

In the 18th century , Paris was an essential destination for anyone who wanted to make a name for themselves as a musician. Mozart, a 7-year-old child prodigy, had been welcomed there with open arms in 1762. A few years later, the journey was much more difficult, and even painful, as musical circles were difficult for him to access. Nevertheless, France, and French taste, inspired some of his most beautiful pieces of music, notably the sublime and very famous concerto jeunehomme , named after the French pianist to whom the work is dedicated, and his two concertante symphonies: the first for winds, originally commissioned, then refused by the director of the concert spirituel, and, on his return, the one
for violin and viola, a particularly beautiful and original piece by a young Mozart already sure of his talent.
For Haydn, the situation in Paris was much easier. No need for him to make himself known, he was a true living god of music at the time, the Count of Ogny simply commissioned six symphonies from him for the orchestra of the Olympic lodge, conducted by the Knight of Saint George. They are all particularly beautiful, lively, inventive, and regularly particularly concertante.
Let us leave the last word to Stendhal, in his life of Haydn: "He begins with the most insignificant idea, but little by little this idea takes on a physiognomy, strengthens, grows, expands, and the dwarf becomes a giant before our astonished eyes."

BIOGRAPHY
La Petite Symphonie is, as its name suggests, a small-scale symphonic ensemble, an orchestra of soloists who are specialists in playing period instruments, very happy to participate collectively in the work of creation and interpretation that this formation allows. Above all, La Petite Symphonie was born from a desire: to transpose the spirit of chamber music to the practice of the orchestra.
One per part, without a conductor, all that is needed is a first initial gesture, then all the music unfolds freely, moved by the gaze and the listening. The sound of the orchestra is also enriched by the strong presence of the pianoforte
as a continuo instrument. With La Petite Symphonie, we therefore return to a practice and a sound that were very common at the time which allow, thanks to the common energy and commitment of each player, powerful and lively interpretations
, while maintaining the flexibility that chamber music allows.
The Little Symphony is organized around Daniel Isoir , pianoforte and pianist, Marieke Bouche, first violin and Diane Chmela, viola, and a team of committed and loyal musicians. The repertoire is vast: symphonies, concertos
and chamber music works by Haydn, Mozart, Beethoven, Kraus, Beck, Wilhelm Friedmann or Carl Philipp Emanuel Bach, among others. The pianoforte having continued its evolution in the 19th century, under the influence of makers such as Graf and Walter, in Vienna, or Pleyel and Érard in France, the Little Symphony does not hesitate to expand its repertoire adequate great chamber music works of the Romantic period.
Born to organist parents, Daniel Isoir began his training as a musician with solid studies in modern piano, chamber music, harmony and writing, notably at the CRR in Boulogne Billancourt, at the School of Fine Arts in Banff in Canada, then at the Hochschule in Hamburg. He first received teaching from Luisa Sorin, Gilles Bérard, Paul Badura-Skoda, then, in Hamburg, from the great Russian pianist Evgeny Koroliov with whom he spent four years, and obtained a concert exam with the highest honors.
At the end of his studies, he began a career as a pianist, solo, in chamber music or as an accompanist of Lieder, songs, and as a choir coach.
Very early on, he was able to learn to play old pianos thanks to a square pianoforte by Clementi that he had helped his father André Isoir to restore. Even if the modern piano remains very present in his activity as a musician, his passion for historical pianos and their construction leads him to play ever more assiduously on classical or romantic instruments. In 2006, he created, with a small team of passionate musicians, the Petite Symphonie, a chamber orchestra in reduced formation, which allows him to experiment with the practice of the orchestra in a spirit of chamber music, with only one instrumentalist per part. A significant part of his concert activity is now devoted to this ensemble, with numerous concerts on the continuo, conducting or as a soloist in concertos by Mozart, Haydn and Beethoven.

Particularly committed and passionate about chamber music, he is the regular partner of many artists, such as the violinist Stéphanie-Marie Degand or the singers Camille Poul and Arnaud Marzorati.
With the little symphony, he has recorded several pianoforte discs, including a highly acclaimed disc of Mozart concertos for the agOgique label and the two Mozart pianoforte quartets for the Muso label.
His latest disc, Triptyques, dedicated to César Franck, recorded on an Erard piano from 1875, was released in April 2021 and was highly praised by critics.

English

>EN QUELQUES MOTS

Au 18ème siècle, Paris était une destination incontournable pour qui voulait se faire connaître en tant que musicien. Mozart, enfant prodige de 7 ans, y avait été accueilli à bras ouverts en 1762. Quelques années plus tard, le voyage a été beaucoup plus difficile, et même douloureux, tant les milieux musicaux lui ont été difficiles d’accès. Il n’empêche que la France, et le goût français, lui ont inspiré parmi ses plus belles pages de musique , notamment le sublime et très célèbre concerto jeunehomme, du nom de la pianiste française dédicataire de l’œuvre, et ses deux symphonies concertantes: La première pour vents, à l’origine commandée, puis refusée par le directeur du concert spirituel, et, à son retour, celle
pour violon et alto, page particulièrement belle et originale d’un jeune Mozart déjà sûr de son talent.
Pour Haydn, la situation à Paris était bien plus facile. Pas besoin pour lui de se faire connaître, il était un véritable dieu vivant de la musique à l’époque, le comte d’Ogny lui a simplement commandé six symphonies pour l’orchestre de la loge olympique, dirigé par le chevalier de Saint Georges. Elles sont toutes particulièrement belles, vivantes, inventives, et régulièrement particulièrement concertantes.
Laissons le dernier mot à Stendhal, dans sa vie de Haydn: « Il commence par l’idée la plus insignifiante, mais peu à peu cette idée prend une physionomie, se renforce, croît, s’étend, et le nain devient géant à nos yeux étonnés. »

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