Lot n° 201
Estimation :
10000 - 15000
EUR
Result with fees
Result
: 12 800EUR
Philippe BOESMANS (born 1936). Autograph... - Lot 201 - Ader
Philippe BOESMANS (born 1936). Autograph musical manuscript, La Passion de Gilles, 1982; 277 leaves 42 x 30 cm.
Monumental orchestral score of this first opera of the composer. [WD2].
Commissioned by Gérard Mortier for the Théâtre Royal de la Monnaie, La Passion de Gilles, an opera in 3 acts on a libretto by Pierre Mertens, portrays the destiny of Gilles de Rais, companion of Joan of Arc, who became a rapist and murderer of children, evolving from the sanctity exemplified by Joan to his demonic antithesis, evolving from Good to Evil, and who, like Joan, ends up being judged by an iniquitous tribunal and burned at the stake.
The premiere took place on October 18, 1983 at La Monnaie, with, in the main roles, Peter Gottlieb (Gilles de Rais), Carole Farley (Jeanne), Collette Alliot-Lugaz (Minguet, Gilles' page), in a staging by Daniel Mesguich, with the Philharmonic Orchestra of the Brussels National Opera, conducted by Pierre Bartholomée; a recording was made during the performances (Ricercar, 1983). The score was published by Jobert in 1983.
In addition to the six soloists, the chorus and a children's choir, the orchestra requires 4 flutes, 2 oboes, 4 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, 6 percussionists, timpani, harp, celesta, and strings.
"Philippe Boesmans has written a very beautiful score for this violent drama, without committing himself "personally", according to his statement, following the example of Richard Strauss who "composed in an intentionally playful way". His language aims at not frightening the audience by avoiding any modern radicalism. If he does not deny himself a few rests in the tonality, allusions to popular music or Gregorian, poetic evocations of nature, the writing is no less serial in essence. The rich orchestral framework, sometimes sparkling, always clear, without heaviness and with remarkable continuity, supports the drama with suggestive atmospheres and expressions, always leaving the voices exposed. Yet Boesmans was unable to produce a highly original vocal style, remaining halfway between Debussy's recitative and Berg's atonal 'bel canto', like most of the operas written in recent decades" (Jacques Lonchampt, Le Monde 25 October 1983).
The manuscript is very carefully noted on 36-line Sünova tracing paper. It is dated at the end "7/11/1982". The composer has written the didascalies on his score. The manuscript shows corrections by scratching, and a numbering of the bars. Act I: pages 1-127 (bars 1-1082); Act II: pages 128-203 (bars 1083-1723); Act III: pages 204-277 (bars 1724-2379).
Attached: the autograph manuscript of the reduction for two pianos and voices (177 ff. on tracing); the manuscript of the vocal-piano reduction by a copyist (62+58+65 p. on paper); the chorus part by a copyist (38 ff. on tracing).
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