La Roque-d’Anthéron: A day with Lucas Debargue, pianist of tradition, curiosity and reflection

We accompanied him to his live performance, we mentioned with him, we exchanged every kind of ideas, and never nearly music, a discipline by which he’s inexhaustible. Literature, philosophy, the march of the world: Debargue pursues an itinerary that mixes up as many attainable paths, whose live shows are anchor factors, thrilling every time, for others, clearly, but in addition for himself.

Pianist and true hiker

So let’s begin with the music. For the live performance. Right here we’re on the Théâtre des Terrasses de Gordes, Vaucluse, maybe probably the most well-known, or busiest, village of the Luberon, perched on its cliffs, in order that, misplaced, we needed to climb one and Debargue, backpacking like a real hiker, to get us precede with versatile strides whereas stretching our legs just a little. As a result of clearly that night time is scorching, even stormy… and don’t be concerned, the piano is not coated, which might imply cancellation. Fortuitously the clouds go away, the spectators arrive and Debargue tells them a phrase about this program – Debargue’s packages are all the time rigorously constructed – which is, round Liszt, that of an “orchestral” piano, extra precisely, than Liszt. he did with the piano, going to see composers who adopted the Hungarian grasp in his compositions for the instrument. Though in its personal manner…

Lucas Debargue, 2015 C) Joel Saget/ AFP

Ravel’s Darkness

And initially Debargue itself. Whoever adapts a piece for an organ by César Franck, the Fantasy in A Minor, and there’s on the similar time this Franckist writing à la Bach, too – by Debargue? – flashes coming maybe from the orchestra, the Symphony in D minor of the identical franc or Tristan and Isolde from Wagner.

Night gaspard. Ravel. Debargue could have instructed us at size about Ravel’s darkish facet, which regularly disappears behind the picture of a “Swiss watchmaker” all the time in management, in addition to his garments so “dressed with care”. The sassy Ravel, additionally outspoken, typically brutally sincere, curious; and, in a few of his scores, of a determined darkness that we rediscover, that we lay naked. the waltz, The Concerto for the Left Hand, The Bolero additionally, in its automaton immutability. That is it night time gaspardo that culminates in a scarbo, the evil gnome whose experience Debargue actually controls, as if Scarbo could not be content material to wander haphazardly by way of the gloomy night time of town the place every little thing sleeps, the place every little thing, maybe, has succumbed.

a structured temper

ONE undine constructed too, hesitant at first to dive, then getting bolder, splashing water in her goals, till the ultimate explosion. And when requested how he handles that essential notice ofon the gallows (continuously repeated, typically duplicated, just like the swing of a hanged man on the finish of his rope), this notice which is the purple and indelible stain of Woman Macbeth, he replies: In keeping with my temper.

Panorama of Gordes C) Bertrand Renard, France Data Tradition

That is what fascinates Debargue: in line with its temper, however by no means for pure pleasure or fantasy, or, extra exactly, making an attempt different paths, so long as they lead someplace. So, on the finish of scarbo, we hear very effectively that the gnome leaves town, however Debargue offers us the sensation that he set it on fireplace.

Infernal “Divine Comedy”

We had been much less satisfied that night time by the fantasy opus 28 of Scriabin, a interval when Scriabin deserted Chopin in favor…not of Liszt, however of himself. The construction disappears just a little in favor of the surplus, this piano-orchestra that will likely be heard significantly better in… Liszt exactly. the sonata After a Dante studying the place Debargue intentionally interprets the terrifying visions of Divine Comedy, subsequent to Delacroix’s portray, Dante’s Boat, it is a piece of zenitude. Livid studying, from an outstanding piano and, this time, actually orchestral, the place we go away all hope, as Dante needs. We even instructed ourselves that Liszt ought to have stopped studying Dante if it had put him in such a state. However Liszt studying the Countess de Ségur would have been in a position to extract infernal visions from her.

Triumphant applause. We had been on the coronary heart of an enthusiastic group (legitimately) who requested the pianist for an encore, then a Scarlatti sonata (calm and orderly) after which the Scherzo nº 2 by Chopin, a Chopin, in line with Debargue, who checked out Liszt, besides that there you could possibly hear Ravel and even… Cuban rhythms.

And, as we requested him in his cave dwelling (these cliffs of Gordes are a wierd thriller) if he felt drained, in a relaxed voice: I might have continued. The general public too.

Lucas Debargue, Moscow, Tchaikovsky competitors, June 21, 2015 C) Worldwide Tchaikovsky / AFP

The Faurean Thriller Examined

The place is he going now? In Fauré’s thriller, of which he explains the extraordinary problem that isn’t essentially distinguished by ear (Fouchenneret had additionally instructed us about this, chronicle by ): that rhythmic swing of Fauré that calls for to discover a breath within the sentences, breaths all the time indicated in others (Liszt, Chopin, Ravel, exactly), and which hides the apparently peaceable progress of Fauré’s works. The richness (we get into the method) of the counterpoint, of the bass traces, of this steady movement the place it’s essential to create contrasts (all of the Romantics, since Beethoven, used them abundantly), make Fauré an enigma to which few pianists assault. However puzzles fascinate Debargue, we perceive.

There’s additionally this opera commissioned from him by Gidon Kremer, excuse me. A friendship was born with the Latvian violinist, the order is already a number of years previous, however in a pianist who just isn’t even 32 years previous, the query undoubtedly arises: am i mature? He solutions us: The method is simply too gradual for me for this challenge. Perhaps as a result of he is so near my coronary heart.

The composer, the viewers, the performer

Questions on Artwork, with a capital A, concerning the relationships between the humanities for which Debargue, he, the good reader (together with up to date American philosophers whose names now we have not essentially retained), could be very delicate – and essentially musicians like him, greater than in different arts, he started his apprenticeship so early that he doesn’t go away a lot room for different curiosities. So now we have to construct them. However a dialog with Debargue (who, on his return from Gordes, will provoke a full of life dialogue of Scarlatti with Pierre Hantaï and one other harpsichordist) is all the time shocking as a result of it is sort of a thought that’s all the time in movement. That we are able to dispute it or not as a result of the controversy feeds it and if the argument is legitimate it is able to hear it (possibly not settle for it. There are limits!) We pompously “hyperlink” it to the artist’s “metaphysics”. An eminently lengthy reply – and a lecture by Debargue in entrance of the general public, after the live performance, would fascinate many. As a result of the composer-performer tête-à-tête is changed by the triangle, and its third angle, the viewers. However not as a form of darkish and undifferentiated mass: the viewers is every of us individually. AND being a musician is a vocation. Not a vocation of elected officers, however of volunteers. By the best way to say that an artist “has” expertise just isn’t honest. An artist IS or IS NOT in his artwork. We might go on with it too (statement so shared, however nothing actually shifting) concerning the elitism of artwork, which we do not actually do to scale back…

Lucas Debargue, Gordes, essay C) Bertrand Renard, France Data Cultura

stars and earth

On the best way again, within the Provencal night time, we talked about Berl and Bernanos, maybe grace, which isn’t only a matter of faith. There was a wierd peace below the starry sky, a lot calmer than Van Gogh’s. We left him with Scarlatti and Hantaï. Nonetheless asking you the query:

The following challenge?

Get my driver’s license.

Again to the bottom.

Lucas Debargue: Franck/Debargue (Fantasy in A minor) Ravel (Gaspard of the night time) scriabin (Fantasy opus 28) liszt (Sonata “After a Dante Studying”) Gordes (Vaucluse), Théâtre des Terrasses, 28 July (as a part of the La Roque-d’Anthéron piano pageant)

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