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Carolin Widmann|L’Aurore

L’Aurore

Carolin Widmann

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"L’Aurore" is Carolin Widmann’s seventh recording for the New Series and her first solo violin recording for the label, exploring a characteristically wide arc of composition with élan and imagination. In this fascinating recital, Widmann sets out to document the expressive potential of the violin in a programme that concludes with a radiant account of Johann Sebastian Bach’s Partita in D minor.

At the album’s core, there are some major discoveries to be made, not least in Romanian composer George Enescu’s rarely-played Fantaisie concertante, written in 1932. : “How is one able to notate something that sounds so free, so visionary?” Widmann reflects in an interview with Max Nyffeler in the booklet. “The melody unfolds improvisationally, as it were: the piece feels like a sweeping melisma”. Throughout the unbroken fifteen-minute duration of the Fantaisie concertante, tension and intensity are maintained.

Enescu, like Bartók before him, drew inspiration from the folk music heritage of his homeland, bringing its colours and energies into his multi-layered music. Widmann also perceives and underlines a cross-connection between Enescu and Belgian composer Eugène Ysaÿe, whose Sonata No. 5, written in 1923, embraces a swirling “Danse rustique” in its second movement.

Bridging the demanding Enescu and Ysaÿe pieces are the aphoristic Three Miniatures of British composer George Benjamin: “There is not a note too much. His music is like a fabric very finely woven, and the three pieces are also interwoven in a subtle way”. These brief character sketches were written in 2001 and 2002 and respectively dedicated to violinist Jagdish Mistry, to music publisher Sally Cavender, and to new music patron Klaus Lauer, at whose Badenweiller Music Days the cycle was premiered.

"L’Aurore" also includes two passes at Hildegard von Bingen’s 12th century antiphon Spiritus sanctus vivificans vita, with Widmann translating Gregorian chant into the idiom of the violin, while keeping the idea of the breath in focus. “We come from the voice. That is the origin of our musical tradition. During the recording we discovered that I play the antiphon differently each time. That’s why it appears twice, like a kind of ritual”.

The album concludes with Bach’s Partita in D minor. “Bach is the one who holds everything together. It was a great concern of mine to finally record this Partita. I waited and waited with it, and worked on it for years. Now I felt the time is ripe and I have enough experience with the piece. Maybe in five years I’ll play it differently again, but in its present form it’s a mirror of my current life and artistic experiences…” © ECM Records

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L’Aurore

Carolin Widmann

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1
Hildegard von Bingen: Spiritus sanctus vivificans vita (Version I)
00:02:49

Hildegard Von Bingen, ComposerLyricist - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

2
Enescu: Fantaisie concertante
00:14:18

George Enescu, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

Three Miniatures for Solo Violin (George Benjamin)

3
I. A Lullaby for Lalit
00:02:28

Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - George Benjamin, Composer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

4
II. A Canon for Sally
00:02:39

Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - George Benjamin, Composer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

5
III. Lauer Lied
00:02:35

Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - George Benjamin, Composer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

Sonata No. 5 in G Major, Op. 27 (Eugène Ysaÿe)

6
I. L’Aurore
00:05:13

Eugene Ysaye, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

7
II. Danse rustique
00:05:35

Eugene Ysaye, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

8
Hildegard von Bingen: Spiritus sanctus vivificans vita (Version II)
00:02:39

Hildegard Von Bingen, ComposerLyricist - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

Violin Partita No. 2 in D minor, BWV 1004 (Johann Sebastian Bach)

9
I. Allemanda
00:05:11

Johann Sebastian Bach, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

10
II. Corrente
00:02:56

Johann Sebastian Bach, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

11
III. Sarabanda
00:04:08

Johann Sebastian Bach, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

12
IV. Giga
00:04:27

Johann Sebastian Bach, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

13
V. Ciaccona
00:14:43

Johann Sebastian Bach, Composer - Markus Heiland, Mixer, Mastering Engineer, Recording Engineer, StudioPersonnel - Manfred Eicher, Producer - Carolin Widmann, Violin, MainArtist, AssociatedPerformer

℗ 2022 ECM Records GmbH

Album Description

"L’Aurore" is Carolin Widmann’s seventh recording for the New Series and her first solo violin recording for the label, exploring a characteristically wide arc of composition with élan and imagination. In this fascinating recital, Widmann sets out to document the expressive potential of the violin in a programme that concludes with a radiant account of Johann Sebastian Bach’s Partita in D minor.

At the album’s core, there are some major discoveries to be made, not least in Romanian composer George Enescu’s rarely-played Fantaisie concertante, written in 1932. : “How is one able to notate something that sounds so free, so visionary?” Widmann reflects in an interview with Max Nyffeler in the booklet. “The melody unfolds improvisationally, as it were: the piece feels like a sweeping melisma”. Throughout the unbroken fifteen-minute duration of the Fantaisie concertante, tension and intensity are maintained.

Enescu, like Bartók before him, drew inspiration from the folk music heritage of his homeland, bringing its colours and energies into his multi-layered music. Widmann also perceives and underlines a cross-connection between Enescu and Belgian composer Eugène Ysaÿe, whose Sonata No. 5, written in 1923, embraces a swirling “Danse rustique” in its second movement.

Bridging the demanding Enescu and Ysaÿe pieces are the aphoristic Three Miniatures of British composer George Benjamin: “There is not a note too much. His music is like a fabric very finely woven, and the three pieces are also interwoven in a subtle way”. These brief character sketches were written in 2001 and 2002 and respectively dedicated to violinist Jagdish Mistry, to music publisher Sally Cavender, and to new music patron Klaus Lauer, at whose Badenweiller Music Days the cycle was premiered.

"L’Aurore" also includes two passes at Hildegard von Bingen’s 12th century antiphon Spiritus sanctus vivificans vita, with Widmann translating Gregorian chant into the idiom of the violin, while keeping the idea of the breath in focus. “We come from the voice. That is the origin of our musical tradition. During the recording we discovered that I play the antiphon differently each time. That’s why it appears twice, like a kind of ritual”.

The album concludes with Bach’s Partita in D minor. “Bach is the one who holds everything together. It was a great concern of mine to finally record this Partita. I waited and waited with it, and worked on it for years. Now I felt the time is ripe and I have enough experience with the piece. Maybe in five years I’ll play it differently again, but in its present form it’s a mirror of my current life and artistic experiences…” © ECM Records

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