Yves Henry, piano

Yale University Collection of Musical Instruments presents

YVES HENRY piano

in

CHOPIN AND DEBUSSY A World of Colors

15 Hillhouse Avenue New Haven 28 October 2012 3:00 P.M.

Yale University Collection of Musical Instruments presents

YVES HENRY, piano CHOPIN AND DEBUSSY A World of Colors How does one create color in music? This topic was the focus of Frederic Chopin’s work, a source of endless discussions with his friend, the painter Eugène Delacroix, and the chief concern of his musical heir Claude Debussy. This program aims to use various works to bring together the two composers and show how Debussy, following in the footsteps of Chopin, elevated the piano to a timbral level equal to that of the full symphony orchestra.

– Yves Henry PRESENTATION Frédéric Chopin

Prelude in C-sharp minor, op. 45

Claude Debussy

Poissons d’or, from Images, vol. 2

Chopin

Barcarolle, op. 60

Debussy Chopin Debussy

Reflets dans l’eau, from Images, vol. 1 Berceuse, op. 57 Claire de lune, from Suite bergamasque

(1810-1849)

(1862-1918)

PRESENTATION

INTERVAL

Chopin Debussy

Prelude in E minor, op. 28 no. 4 Des pas sur la neige, from Préludes, vol. 1

Chopin Debussy

Prelude in G major, op. 28 no. 3 Minstrels, from Préludes, vol. 1

Debussy

Prélude à l’après-midi d’un faune (transcription for piano solo)

Chopin

Polonaise fantasie, op. 61

Debussy

L’Isle joyeuse Grand Pianos by Ignaz Pleyel, Paris, 1842 and Erard Cie., Paris, 1881

ABOUT THE PERFORMER The 1981 winner of the Robert Schumann Piano Competition in Zwickau (Germany), pianist Yves Henry is heir to a dual musical heritage. Protégé of the exceptional teachers Pierre Sancan and Aldo Ciccolini, he was trained in accordance with the 19th century principle of the complete musician: pianist, chamber player, accompanist, conductor, and composer. This philosophy is particularly expressed in the art of respecting the material on the printed page to the utmost, as well as the effacement of the performer in favor of the composer whom he must serve.

After more than twenty years of giving recitals and solo performances with orchestras in Europe, the USA, China, and Japan, Yves Henry is now engaged in an ongoing recording project. His 2006 recording of Frédéric Chopin’s 24 Preludes, Op.28, made at Paris’ Salle Pleyel, marked a particularly important step in his career. This project gave concrete form to his research on the interpretation of Chopin, based on an in-depth analysis of his language, practical knowledge of Pleyel instruments from the 1840s, and the history of his life, especially his tenyear affair with the writer George Sand. The performances are accompanied by a master class on the importance of a working knowledge of historical instruments to the interpretation of text in Chopin’s works. Recorded simultaneously on DVD and CD, and played on both 1838 and 2004 Pleyel pianos, this dual version of the 24 Preludes was hailed by the critics.

Continuing his reinterpretation of Chopin’s oeuvre, Henry recorded the masterpieces written between 1839 and 1846 at George Sand’s home in Nohant, complete for the first time on disc. This world premiere recording was released in October 2009 with the book Les étés de Frédéric Chopin à Nohant (Editions du Patrimoine) as a prelude to the 200th anniversary of Chopin’s birth in 2010.

Currently, Yves Henry is further exploring the musical life of this period, specifically the interpretative as well as historical aspects linked to instrument manufacture, with focus upon the works of Chopin, Liszt, and Schumann. Several recent discs include a recital of the works of Chopin, Schumann, and Liszt on an 1838 Pleyel piano and an 1844 Erard; a Liszt anthology on a modern Bechstein piano; and the program of Chopin’s own final concert, recorded on an 1838 Pleyel in Delphine Potocka’s former salons in the Place Vendôme, Paris.

In addition to performance, Henry presides over the Nohant Festival in France, which features concerts, lectures, master classes, and the use of historical pianos.

He has been on the faculty of the Conservatoire National Superieur de Musique de Paris since 1999.

This concert is made possible by the generous support of the following: The Virginia and Leonard Marx Foundation Endowment The Associate Members of the Collection Remaining concerts on this season’s series December 2, 3 - CHARLES NEIDICH, clarinet ROBERT LEVIN, piano January 27

- QUICKSILVER BAROQUE ENSEMBLE Robert Mealy & Julie Andrijeski, co-directors

March 5 - TAFELMUSIK SPRAGUE HALL, Yale School of Music April 7

- LES DÉLICES Debra Nagy, baroque oboe Scott Metcalfe, baroque violin Julie Andrijeski, baroque violin Emily Walhout, viola da gamba Michael Sponseller, harpsichord

SPECIAL PERFORMANCES November 11 - GUITAR SPECIAL EVENT Claudio Maccari, classical guitar Paolo Pugliese, classical guitar November 13 - YALE BAROQUE ENSEMBLE Holly Piccoli, baroque violin David Fung, harpsichord November 30 - YALE BAROQUE ENSEMBLE works by Merula, Corelli, Purcell, Handel, and Vivaldi

This concert is being recorded and streamed live over the Internet; please turn off all cell phones and pagers.