EB 32065 – Franck, Drei Stücke für Flöte (Violine) und Klavier

Page 1


Edition

Br E itkopf

r. f ranck

Drei Stücke

für Flöte (Violine) und Klavier

Three Pieces for Flute (Violin) and Piano op. 52

1858–1938

Drei Stücke

für Flöte (Violine) und Klavier

t hree Piece S

for Flute (Violin) and Piano

op. 52

herausgegeben von | edited by Nick Pfefferkorn

Edition Breitkopf 32065

Printed in Germany

Inhalt | Contents

Vorwort

Richard Franck wuchs in der Welt der Musik auf. Als er am 3. Januar 1858 in Köln geboren wurde, war sein Vater Eduard Franck dort Lehrer an der Rheinischen Musikschule. Seine Mutter Tony Franck geb. Thiedemann stammte aus dem damals dänischen Eckernförde, wo sie als Pianistin bereits einen Namen hatte und die Förderung des Königspaares genoss. In Berlin hatte sie, mit Mendelssohns Schwester Fanny Hensel befreundet, ebenso wie ihr Mann enge Verbindung zu dieser Familie gefunden. Bald zog der junge Richard mit zu den weiteren Wirkungsstätten des Vaters in Bern und 1867 nach Berlin. Die humanistische Bildung, die er erhielt, hat sein Denken nachhaltig beeinflusst, wobei Gestalten der Antike sich auch seiner künstlerischen Phantasie eingeprägt haben mögen.

Die ersten Schritte als Musiker konnte er schon in Berlin, beim Vater, am Stern’schen Konservatorium tun. Aber 1878 wandte er sich zum Studium nach Leipzig; er betrieb seine Studien nicht nur am Konservatorium, sondern auch an der Universität, um sich mit den Grundlagen der Philosophie, besonders der für die Musik wichtigen Ästhetik, vertraut zu machen Am Konservatorium gewann die konservative Richtung des Leiters Carl Reinecke starken Einfluss auf ihn. Mit dieser Schule blieb er zeitlebens verbunden, ohne sich einer eigenständigen Erweiterung seines Horizonts zu verschließen. So erkennt man in seinen Werken einen an klassischen Mustern gebildeten, damals als „gemäßigt modern“ empfundenen Stil, den Romantikern verbunden.

Weitere Stationen waren, nun unabhängig vom Vater: Basel, Magdeburg, Kassel und schließlich Heidelberg. Die Schweiz hatte er schon in früher Jugend liebgewonnen und erwandert, und so ergriff er gerne die Chance, in Basel an der Allgemeinen Musikschule Fuß zu fassen. Unter den dortigen Erfolgen ragt sein beim ersten Schweizerischen Tonkünstlerfest 1900 vorgetragenes Klaviertrio h-moll op. 20 hervor, ein dichtes Tongemälde, das dank der geglückten Verschmelzung der ungleichen Instrumente und der wunderschönen Cello-Kantilenen gepriesen wird In Basel heiratete Richard Franck Emilie Bernoulli aus der dort seit Jahrhunderten ansässigen Gelehrtenfamilie. Die Basler Zeit vermerkt Franck in seinen Erinnerungen als musikalisch und künstlerisch höchst anregend, wobei er auch seine Verehrung für Johannes Brahms zu erkennen gibt, der eigene Werke dort selbst aufführte. Diese Zuneigung mochte nicht zuletzt auf dessen Widerstand gegen die Zeitströmung begründet gewesen sein, wie sie sich auch in der von Franck verworfenen Lehre der „Neudeutschen Schule“ manifestierte. Nicht weniger interessiert zeigte er sich an der „Moderne“; besonders Grieg und Reger’sche Harmonik hat er intensiv studiert

Großen Gewinn brachte ihm das Wirken in Kassel, wo er von 1900 bis 1910 die Stellung eines Königlich Preußischen Musikdirektors und Dirigenten des Lehrergesangvereins einnahm und auch als Komponist produktiv hervortrat. In den Dekaden um die Jahrhundertwende gab es kaum eine Gattung der Musik, der er sich versagt hätte, vom einfachen Lied zur Chormusik bis hin zur Sinfonie. Gesundheitliche Schwäche zwang ihn schon vor dem Ersten Weltkrieg zu einer ruhigeren Gangart, und er wechselte nach Heidelberg, dessen Konservatorium ihm eine neue Wirkungsstätte bot. Unter den dort entstandenen Werken sind mehrere Fugen und 1926 ein Vorspiel zu einem romantischen Schauspiel bemerkenswert Gedruckt wurde in dieser Zeit nur noch weniges Bis zu seinem Tod im Jahre 1938 konnte er sich öfter an Sendungen seiner Kammermusik im Rundfunk freuen Kaum allerdings dürfte er die Resonanz erwartet haben, die seine Musik, mehr als ein Jahrhundert nachdem er sie schuf, in ausgezeichneten Interpretationen heute erfährt

Die Entstehung der Drei Stücke op. 52 fällt in ein zeitlich und inhaltlich schwer abzugrenzendes Spannungsfeld. Diese in der Spätromantik verwurzelten Werke stießen auf die vor der Wende zum 20. Jahrhundert robust vorwärtsdrängenden, modernen Strömungen. Die Stücke erschienen 1910 im Verlag von Albert Stahl in Berlin, als Richard Franck sich bereits nach Heidelberg zurückgezogen hatte. Sie zählen somit zu seinen letzten veröffentlichten Werken. Alternativ sind sie auch mit Violine statt Flöte spielbar. Kurze, freiere Formen gehörten im 19. Jahrhundert zur typischen Literatur und entsprachen dem wachsenden Bedürfnis und dem Geschmack der musikalischen Salons des Bürgertums

Ausgesprochen resigniert, fast wie ein Abschied wirkt No. 1 Elegie. Die Flöte steht ganz im Vordergrund dieses melancholischen, mit Chromatik angereicherten und klar strukturierten Adagio-Satzes. Als humorvolles Scherzo kommt No. 2 Der Reiter von Sankt Karli daher, wohl eine Anspielung auf die Schweiz, in der Franck einige Jahre verbrachte. Fast wirkt es wie eine Hommage an Schumann. Der Mittelteil dieses Scherzos, ein Andante, nimmt Bezug auf die elegische Stimmung des ersten Stückes. Es ist eine ruhigere Station, bevor der Reiter weiterzieht. No. 3 Perpetuum mobile („so schnell als möglich“) kann man als Vorläufer moderner Klangflächenkompositionen auffassen, aber natürlich auch als schlichtes, scherzhaftes Bravourstück im Stile des Hummelflugs.

Zur Edition

Einleitung

Die vorliegende Edition erscheint im Rahmen einer Reihe, die das musikalische Schaffen von Richard Franck beleuchten und seine Werke erstmals vollständig und in einheitlicher Textgestalt zugänglich machen soll. Die Nachfahren des Komponisten, Paul Feuchte (Freiburg) und Andreas Feuchte (Hamburg), haben in jahrelanger minutiöser Arbeit nahezu jedem Werk, dessen Autograph sich nicht im Nachlass des Komponisten und damit im Besitz der Erben befindet, eine direkte Quelle zuweisen können. Auffällig ist hierbei jedoch, dass bei zu Lebzeiten Francks erschienenen Werken fast durchgängig keine authentischen handschriftlichen Quellen überliefert sind Dies ist bei den hier vorliegenden Drei Stücken op. 52 ebenso der Fall.

Es muss für die vorliegende Urtextausgabe des Werkes somit nur eine einzige Quelle die Basis bilden:

(P) Erstausgabe der Klavierstimme, erschienen 1910 im Verlag von Albert Stahl, Berlin. Plattennummer A.617 S.

(S) Erstausgabe der Solostimme, ebenda

Editionsprinzipien

Die Erstausgabe von op. 52 enthüllt bereits bei einfacher Durchsicht zahlreiche Fehler, die wohl mehrheitlich auf Nachlässigkeiten des Stechers zurückzuführen sind. Beginnend bei rhythmischen Ungenauigkeiten, wie vergessenen Fähnchen an Achtel- bzw. Sechzehntelnoten, fast konsequent verrutschten oder (im selben Akkord) vergessenen Akzidenzien, über fehlende Schlüsselung bis hin zu offensichtlichen Notenfehlern, ist das ganze Repertoire an Ungenauigkeiten abgedeckt. Die Edition der Drei Stücke ist frei von willkürlichen Zutaten oder Änderungen durch den Herausgeber. Sämtliche Ergänzungen und Änderungen sind eindeutig als solche gekennzeichnet. Es fanden eckige Klammern bei Vortragsbezeichnungen [a tempo] und Dynamiken [cresc.], [ sf ] etc. Anwendung, sowie Strichelungen bei Bögen oder Crescendo-Gabeln

Nick Pfefferkorn

Preface

“I was born on 3rd January in Cologne; at the age of one I answered a call from my parents and moved to Bern...” In this extract from Richard Franck’s Musical and Unmusical Memories, published in Heidelberg in 1928, after the sober mention of the date of his birth, we detect something of the self-irony that he retained all through his life, even in difficult times. These memoirs, informal in tone, conclude with a depiction of Heidelberg, where Franck chose to live for almost three decades until his death in 1938. The account does not begin with his own experiences; initially he directs his gaze at his family, especially his father Dr Eduard Franck, Royal Director of Music and Professor (1817–1893), who came from a family of bankers in Breslau and had achieved considerable renown as a composer and pianist Eduard Franck was a friend of Felix Mendelssohn Bartholdy, who died at a young age in 1847, and, like his siblings, associated with many influential personalities of the period.

It was not easy for Richard to match the fame his father enjoyed, let alone to surpass it, and in specialist articles and dictionaries we find that it is the father rather than the son who is held in higher regard Nonetheless, the work of neither composer has been researched thoroughly enough to enable a definitive judgement to be reached, and the Schumann expert Joachim Draheim tends towards the view that both were roughly equal status in the history of music.

Richard Franck’s mother, the daughter of a teacher from Eckernförde named Thiedemann, first met his father at the house of her friend Fanny Hensel, Mendelssohn’s sister. Having attracted the interest of the nobility in Schleswig-Holstein and the Danish king and queen – who gave her support – Miss Tony Thiedemann gained entry into the circle of outstanding musicians in Berlin. According to Eduard, Tony loved playing the piano above all else, and did so with great musicality, tastefully, purely and simply, even if she lacked sheer power. They married in 1850 and had three children, Richard and his two younger sisters. After giving up her career as a pianist their mother, weakened by illness, devoted herself entirely to her family, but passed away in 1875 at the age of just 48 – before Richard, following his school-leaving examinations from the humanistic Wilhelms-Gymnasium, had started his initial studies under his father at the Stern’sche Konservatorium, Berlin’s oldest college of music

From 1878 onwards, alongside studies of philosophy at the Leipzig University, Richard Franck continued his musical studies at the conservatory founded in that city by Mendelssohn, an establishment then headed by Carl Reinecke. Reinecke, following in Mendelssohn’s footsteps as a pianist and prolific composer, had a lasting influence on the young Franck. Among his other teachers in Leipzig was Salomon Jadassohn, who at the time was writing his great work on the theory of compositions and his theory of harmony and who also composed more than 125 pieces of his own. Together with Ernst Richter, Wilhelm Rust and Ernst Ferdinand Wenzel, he helped to equip the rising young artist with the requisite musical knowledge. In 1880, in the Gewandhaus under Carl Reinecke’s direction, Richard Franck played his examinations piece, his recently completed Piano Concerto in D minor. Although the concerto achieved considerable success in this context, and was also performed in Bern, Basel and Magdeburg, Franck never published it.

When Richard Franck played his Piano Concerto in Leipzig, he had already started work at the Allgemeine Musikschule in Basel, on Reinecke’s recommendation, and he remained there until 1900, although his tenure was interrupted in the years 1884–87 by a period at Franz Kullak’s conservatory in Berlin and work as a teacher and pianist in Magdeburg. Despite enjoying some success there, however, he was not sorry to leave Magdeburg: the musical scene in the city, where Georg Philipp Telemann was born did not appeal to him, and he longed for forests, mountains and lakes, which were almost as essential for him as music

In Basel he quickly established a cordial relationship with the influential composer Hans Huber (1852–1921). Franck dedicated a piano piece, Concert Waltz, to Huber, and the two men enjoyed making music together. Indeed, Franck remembered his time in Basel as artistically very stimulating and fruitful. Having spent his childhood in Bern he had

a particular fondness for Switzerland, and he often travelled there. Trips to the mountains and horse riding showed him many beautiful landscapes and gave him the utmost pleasure; Lucerne became his “second paradise”.

In the 1880s and 1890s, in rapid succession, he produced a series of compositions that encompass almost the entire spectrum of his output: piano pieces, some songs and choral works, sonatas for violin and piano and for cello and piano, trios, quartets, as well as orchestral works. With these works, Franck proved himself to be a unique composer on the border between late Romanticism and Modernism. In the works we recognize a style that is trained in the classical models but was in its own time perceived as “moderately modern”. It is characterized by charm and harmony, refined sonorities and exquisite melodies, with a fondness for contrapuntal elements

Among the many friendships that Franck made in Switzerland was that of the Bernoulli family, whose daughter Emilie he married. They had two children, Tony and Edgar.

Franck had busied himself with all the principal works of the Classical and Romantic composers while still a schoolboy – mostly in piano fourhands versions together with his father – and, after he had completed his education, he soon won acclaim as a concert pianist. He is said to have possessed astonishing technical ability, in the broadest and most elevated sense of the term, in matters of dexterity, elasticity of touch, correct accentuation and interpretation of the musical content

The overture for large orchestra Wellen des Meeres und der Liebe (Waves of the Sea and of Love), op. 21, the title of which alludes unspecifically to the Classical drama by Franz Grillparzer, was first performed in Lucerne in 1895 under the baton of Willem Mengelberg. Some twenty further performances followed, some conducted by the composer. Like his other works, this overture, with its modern tone colours, benefits from the energetic, enthusiastic sense of motion that pervades it from beginning to end The ideas are individual and of simple clarity, the instruments are effectively introduced, and the structure grows organically.

A new task awaited Franck in Kassel, where from 1900 onwards he built up a busy concert schedule as a conductor and performer and soon acquired the title of Royal Prussian Director of Music; he also directed the teachers’s choral society. Among the friends that he made there, in the golden age of imperial pre-war Germany, were Oberpräsident Count Zedlitz-Trützschler and the historical and landscape painter Hermann Knackfuß. In Kassel, too, he composed works for piano, violin and cello sonatas, other chamber pieces – including the atmospheric quartet, op. 41 – but also orchestral works such as the tone poem Amor und Psyche, op. 40. This was also the period of the two-movement Violin Concerto, op. 43. Towards the end of his time in Kassel, Richard Franck produced a Piano Concerto in E minor, op. 50, which was first performed in March 1910 but was probably composed earlier.

Even in Basel and Kassel, Franck had been hindered in public performances by health problems. These sapped his creative powers and in 1919 he decided to give up his more onerous duties in Kassel, including major public appearances, and to relocate to the climatically more favourable Heidelberg, a town whose Romantic atmosphere enchanted him. There he could teach at the conservatory and give piano recitals on a more intimate scale Some of Franck’s works appeared on the curriculum At lectures on music he presented a rich harvest of works from the piano repertoire, ranging from Johann Sebastian Bach by way of Beethoven’s sonatas, the major works of Chopin, Schumann and Liszt to contemporary music.

Many of his own compositions from the Heidelberg time – which was punctuated by long stretches during which he wrote nothing – remained unpublished; among them several fugues are especially noteworthy, and from 1926 there is a prelude to a Romantic play.

The war, inflation, the confusion of the Weimar period and the years before the Second World War hit him hard, when his health was in any case precarious. His financial losses as a result of the inflation forced him to adopt a very modest lifestyle. For entertainment and relaxation

he liked to discuss philosophy, history and politics, to swim and to take long walks by the River Neckar and in the town that he loved.

His children and grandchildren liked to listen to him playing the piano, and he also composed little pieces for domestic use. When playing chess – at which he was unbeatable – he demonstrated his sharp intellect and calculative ability. On his eightieth birthday, a few days before his death, he was able to hear his Piano Quartet, op. 33, broadcast on Radio Beromünster; in the preceding years, too, some of his chamber works had been broadcast. Richard Franck died on 22nd January 1938 and was buried in the Bergfriedhof cemetery in Heidelberg.

The genesis of the Three Pieces, op. 52, started in an area of tension which is, concerning the two perspectives time and content, hardly to be separated. These works, rooted in the late romanticism, had to face intense forwarding movements at the turn to the 20th century. The pieces were published in 1910, when Richard Franck already retired himself to Heidelberg. They are among his last published works. Alternatively they

may also be played with violin, instead of flute. Short and free musical forms were most popular in the late 19th Century, corresponding to the growing need and the taste of the musical salons of the bourgeoisie No. 1 Elegie could be characterized as resignation, nearly as a farewell. The flute is in the foreground of the melancholic, clearly structured Adagio movement, which is enriched with chromaticism. No. 2 The rider of Sankt Karli is a humorous Scherzo, probably a reference to Switzerland, were Franck spent a few years. In its character it is a tribute to Schumann. The middle part of the Scherzo, an Andante, captures the elegiac mood of the first piece with respect – a quieter station, before the rider moves on. No. 3 Perpetuum mobile (“as fast as possible”) can be regarded as an outlook on modern sound surface compositions, but also as a plain, joking bravura piece in the style of the Flight of the Bumblebee.

The Edition

Introduction

The present Urtext-Edition is part of a series that will highlight the musical work of Richard Franck, and make it available in a complete and unified text form for the first time. The descendants of the composer, Paul Feuchte (Freiburg) and Andreas Feuchte (Hamburg), have assigned a direct source to almost every composition, whose autograph score is not in the inheritance of the composer and therefore in the possession of the heirs. It is remarkable, however, that almost no authentic, hand-written sources have survived of works that were published during the lifetime of Franck This regards to the Three Pieces, op. 52, as well.

Thus, we are reliant on a single source for the preparation of this Urtext-Edition:

(P) First edition of the piano part, published in 1910 by Albert Stahl, Berlin. Plate number A. 617 S.

(S) First print of the solo part, ibid.

Editing Principles

By simply looking over it, the first print of op. 52 reveals numerous errors, mostly due to carelessness of the engraver. Starting with rhythmic inaccuracies, such as forgotten note flags at eighth or sixteenth notes, or almost consistently misplaced or absent accidentals, missing clefs on to obvious incorrect notes, the whole repertory of possible errors is covered

The edition is free of any arbitrary fixings or changes by the editor. All additions and corrections were clearly identified as such. With square brackets for expression marks e.g. [a tempo], dynamics [cresc.], [ sf ] etc. and dashing for slurs, ties and hairpins

Nick Pfefferkorn

Paul Feuchte

Herrn und Frau Bayer-Simmen in Luzern zugeeignet.

Herrn und Frau Bayer-Simmern in Luzern zugeeignet.

Drei Stücke für Flöte (Violine) und Klavier

für Flöte oder Violine und Klavier | for Flute or Violin and Pianoforte

Richard Franck op. 52

Richard Franck op. 52

I. Elegie

Breitkopf 32065 rit.

Edition Breitkopf 32065

© 2012 by Pfefferkorn Musikverlag, Leipzig © 2019 assigned to Breitkopf & Härtel,

© 2012 by Pfefferkorn Musikverlag, Leipzig

© 2019 assigned to Breitkopf & Härtel, Wiesbaden

Leseprobe Sample page

Leseprobe Sample page

II. Der Reiter von Sankt Karli

Leseprobe Sample page

Leseprobe Sample page

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