Richard

GallianoMozArt

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Paris, March 31, 2016

Playing Mozart on the accordion and the bandoneon! It'strue that it's something that doesn't happen every day. The public findsit hard to imagine… are accordionists afraid to play Mozart?

But in my opinion no music ever sounded so obvious. LikeJ.S. Bach's compositions, Mozart sounds marvellous on an accordion.

Since recording 'Piazzolla Forever', I discovered thisformula with a quintet or sextet plus accordion or bandoneon. TodayI see this group as a foundation, and the quintet or sextet is a majesticshowcase for my instrument, opening up a universe of music that isunusual, but finally very natural.

Just as I did with my previous 'Bach' or 'Vivaldi' recordings,I started as a "music fan" and simply chose the pieces that touched methe most.

For the famous 'Turkish March' we approached it in a waythat was almost the oral tradition, and we made its festive, 'dance'side stand out, like it used to be played a long time ago in the café-concerts in the 1900s.

The melody in the B minor Adagio for flute and trio is apure gem of music, and its pizzicati accompaniment is absolutegenius.

Mozart's 'little night music' serenade is so famous; and ithas been played so often… but perhaps it needed some new blood? Ithink the unison on the accordion really lets you see it in a new light.

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For the 'Laudate Dominum' I have to admit I was thinkingof Astor Piazzolla and his moving piece 'Oblivion' when I decided toplay this on the bandoneon. It replaces the solo voice, so for theorchestration I simply allocated the parts another way: the bassoonpart on the cello, with the viola playing the contralto in the choir part,and two voices on the bandoneon. The first and second violin parts areunchanged.

The 'Clarinet Concerto' was a real challenge and it's beena favourite with every clarinettist for decades. But not one of themwas playing the original score written by Mozart! We know thatMozart composed it for an instrument that doesn't exist anymore, thebasset horn, which had a much deeper tessitura.

I discovered the original score and it adapts wonderfullyto the accordion. You mustn't forget that the accordion is both a reedand a wind instrument, in addition to being polyphonic.

Still accompanied by the string quintet led by the talentedBertrand Cervera playing solo violin (a more intimate, chambersound), the cassotto bassoon accordion sound is sublimated.

That's my humble opinion. Do you share it? I hope so.Finally, was this composition for the Glassharmonica a

premonition? In Italy the name for an accordion is 'la fisarmonica'.

Thank you, Mozart.���

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Je m’en souviens comme si c’était hier, une soirée Dave Brubeck à l’Olympia en 2001, où celui-ci jouaforcément "Blue Rondo alla Turk"…

Richard Galliano m’y présenta le violoniste Jean-Marc Phillips-Varjabédian, ami d’Olivier Mantei qui géraità cette époque la programmation musicale du Théâtre des Bouffes du Nord. Naquit l’idée de réunir 6musiciens, 5 cordes et un piano, pour faire revivre sous l’inspiration franco-italienne de Galliano les plus beauxthèmes d’Astor Piazzolla, qui étaient encore bien loin, il y a 15 ans, de se nicher dans la plupart desprogrammes classiques.

Galliano et Piazzolla s’étaient rencontrés, et dire qu’ils s’étaient appréciés est un euphémisme : un coupde foudre est un mot plus juste! Piazzolla fut sans doute la rencontre majeure dans la carrière de Galliano,mais aussi dans sa vie, lui prodiguant de précieux conseils qu’il cite encore souvent en interview.

Les violons de Jean-Marc Phillips et Sébastien Surel, l’alto de Jean-Marc Apap, le violoncelle d’HenriDemarquette, la contrebasse de Stéphane Logerot et le piano d’Hervé Sellin se mirent donc au vert enAveyron autour de l’accordéon, et débuta alors une aventure dont personne ne pouvait à l’époque percevoirni l’ampleur ni la longévité : près de 500 concerts dans le monde entier, et 5 ou 6 ans plus tard un DVD quivint immortaliser ce « tango nuevo » transfiguré sous les doigts amoureux de l’accordéon de Richard Gallianoet sous ses arrangements élégants, soyeux et d’une légèreté inédite dans le tango.

La suite coule de source : parallèlement à sa carrière de jazzman, Galliano reprenait goût à jouer ànouveau avec une formation classique, tendance amorcée avec l’Orchestra della Toscana (albumPassatori). Mais au contraire d’une formation de chambre ou symphonique, le sextuor permet toutes lesaudaces, les agilités les plus folles. Maniable, fluide et souple, la formule réduite à 5 cordes permet d’exploreret défricher plus rapidement.

Le projet « Bach », premier album pour Deutsche Grammophon fut un succès inespéré, et l’interprétationd’un "monstre sacré du classique" à l’accordéon non seulement ne scandalisa plus personne mais apparutmême comme une évidence.

Et quand « Les 4 Saisons » de Vivaldi furent évoquées, c’est tout naturellement qu’elles arrivèrent commeun pendant logique à celles de Piazzolla qui avaient été jouées si souvent sur scène par Richard et sonsextuor.

« Mozart » est un autre défi, truffé d’autres difficultés, et requérant une sensibilité extrême. D’autresmusiciens cette fois prennent le relais, mais le sextuor comporte toujours la même distribution : 2 violons,alto, violoncelle et contrebasse. Cette fois, c’est le premier violon de Bertrand Cervera, soliste à l’OrchestreNational de France, qui mène la danse, épaulé par Stéphane Hénoch (violon), Jean-Paul Minali-Bella à l'alto,Raphaël Perraud au violoncelle et Sylvain Le Provost à la contrebasse.

J.M. De Bie, agent de Richard Galliano

LA GENÈSE D’UN SEXTUOR, LE PLUS BEL ÉCRIN POUR L’ACCORDÉON

I remember this like it was yesterday: an evening with Dave Brubeck at the Olympia in 2001. Obviously heplayed "Blue Rondo à la Turk".

Richard Galliano introduced me to violinist Jean-Marc Phillips-Varjabédian, a friend of Olivier Mantei who atthat time was taking care of the music programming at the Bouffes du Nord Theatre. The idea was born to gathersix musicians – five strings plus piano – and take Galliano's Franco-Italian inspiration to put new life into Astor Piazzolla'smost beautiful pieces; fifteen years ago, those pieces were a long way from finding a home in most classicalprogrammes….

Galliano and Piazzolla had met, and saying they appreciated each other is a real euphemism: love at firstsight would be a better phrase! Piazzolla was no doubt the major encounter in Galliano's career, but also part ofhis life, because he gave him some precious advice; and he still talks about it in interviews.

So Jean-Marc and Sébastien Surel took their violins, plus Jean-Marc Apap (viola), Henri Demarquette (cello),Stéphane Logerot (double bass) and Hervé Sellin (piano), and they went off to take a breather down in the Aveyronregion, together with the accordion. And so began an adventure whose size.… nobody at the time could see howimportant or how long it would be: almost 500 concerts around the world, and a DVD five or six years later thatmade this tango nuevo immortal, transfigured in the loving hands of Richard Galliano and his accordion, with silky,elegant arrangements so light that nobody had heard in a tango before.

The rest followed naturally: in parallel with his career in jazz, Galliano was finding a new taste for playing with aclassical ensemble, a tendency that began with the Orchestra della Toscana and the Passatori album). Unlike achamber or symphony group, however, a sextet allows for all kinds of daring initiatives: it is wildly clever. Adjustable,flexible and manageable, the format reduced to five strings allows you to do the groundwork quicker when youwant to explore.

The "Bach" project became the first album for Deutsche Grammophon, and it was an unexpected success. Itwas the accordion-performance of works by a "monument in classics", and not only did it not cause a scandal, itseemed perfectly obvious.

And when Vivaldi's "Four Seasons" were raised, they quite naturally became the logical counterpart of thePiazzolla pieces that Richard and his sextet had played so often onstage.

"Mozart", on the other hand, is quite another challenge, filled with other difficulties, and it requires extremesensitivity. Here, other musicians have taken up the challenge, but the sextet keeps the same instrumentation: twoviolins, viola, cello and bass. This time, the first violin is Bertrand Cervera, a soloist at the Orchestre National deFrance, with support from Stéphane Hénoch (violin), Jean-Paul Minali-Bella (viola), Raphaël Perraud (cello) and bassistSylvain Le Provost.

J.M. De Bie, Richard Galliano's agent

THE GENESIS OF A SEXTET,THE ACCORDION'S FINEST SETTING

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RICHARD GALLIANOaccordion (1-6; 8-11) bandonéon (7)

BERTRAND CERVERAviolin

STÉPHANE HÉNOCHviolin

JEAN-PAUL MINALI-BELLAviola

RAPHAËL PERRAUDcello

SYLVAIN LE PROVOSTdouble bass

Richard Galliano joue sur un accordéonplays on an accordionVICTORIA (Quint System) et un bandonéon and a bandoneónAlfred Arnold

1. Rondo alla Turca {Piano Sonata No.11 in A major, K.331} 3’28Marche turque {Sonate pour piano n°11 en la majeur, K.331}

Flute Quartet in D major, K.285Quatuor n°1 en ré majeur pour flûte et trio de cordes, K.285

2. Adagio 3’55

Serenade No.13 for Strings in G major, K.525 'Eine kleine Nachtmusik'Sérénade n°13 en sol majeur, K.525 "Petite Musique de Nuit "

3. Allegro 5’274. Romanze (Andante) 5’045. Menuetto (Allegretto) 1’586. Rondo (Allegro) 2’58

7. Laudate Dominum {Vesperae solennes de confessore, K.339} 4’45Laudate Dominum {Vêpres solennelles d’un confesseur, K.339}

Clarinet Concerto In A Major, K.622Concerto pour clarinette en la majeur, K.622

8. Allegro 11’239. Adagio 7’32

10. Rondo 8’36

11. Adagio for Glassharmonica in C major, K.356/617a 3’48Adagio pour harmonica de verre en do majeur, K.356/617a

WOLFGANG AMADEUS MOZART {1756 / 1791}

Producer & Artistic director: Richard Galliano

Recorded @ Studio Sequenza, January 11th-15th 2016

Sound engineers, mixing and mastering:Rémi Bourcereau & Thomas Vingtrinier

Executive producer:Renaud Loranger

Production coordination: Nathalie François

Project management: Alexandra Bannelier

Photos: Jean-Baptiste Millotexcept page 8: Nathalie François

Translations:Martin Davies

Concerts & artist management :Ginga ProductionsJean-Michel De Biegingaproductions@yahoo.fr

RemerciementsFrançois Arveiller, Thibaut Gerhardt,Renaud Loranger, Alexandra Bannelier,Nathalie François et toute l’équipe de Decca Records France chez Universal Music.

Bertrand Cervera et les musiciens du Quintet : Jean-Paul Minali-Bella, Stéphane Hénoch, Sylvain Le Provost, Raphaël Perraud

Rémi Bourcereau et Thomas Vingtrinier du Studio Sequenza

Jean-Pierre Brun, Thierry Guedj, Olivier Gal et toute l'équipe du film

André Pereygne

Frédéric Lodéon

Mon agent artistique Jean-Michel De Bie

Mon épouse Giselle Galliano

“Je dédie cet enregistrement Mozart à la mémoire de Barbara.” ‘I dedicate this Mozart’s album in the memory of Barbara.’

R.G.

“Si Mozart avait connu Richard Galliano, il aurait certainement écrit pour lui

quelques belles et grandes pages. Je me réjouis d’entendre celles

que je connais déjà sous les doigts de Richard et de ses amis.”

Frédéric LodéonPRODUCTEUR DÉLÉGUÉ À FRANCE MUSIQUE

‘If Mozart has known Richard Galliano, he would have probably written

beautiful and great pages for him. I’m so happy to listen to those

that I already know, performed by Richard and his friends.’

Frédéric LodéonEXECUTIVE PRODUCER AT FRANCE MUSIQUE

Photo cover: Jean-Baptiste Millot. Artwork: Barilla.design

1. Rondo alla Turca {Piano Sonata No.11 in A major, K.331} 3’28Marche turque {Sonate pour piano n°11 en la majeur, K.331}

Flute Quartet in D major, K.285Quatuor n°1 en ré majeur pour flûte et trio de cordes, K.2852. Adagio 3’55

Serenade No.13 for Strings in G major, K.525 'Eine kleine Nachtmusik'Sérénade n°13 en sol majeur, K.525 "Petite Musique de Nuit "3. Allegro 5’274. Romanze (Andante) 5’045. Menuetto (Allegretto) 1’586. Rondo (Allegro) 2’58

7. Laudate Dominum {Vesperae solennes de confessore, K.339} 4’45Laudate Dominum {Vêpres solennelles d’un confesseur, K.339}

Clarinet Concerto In A Major, K.622Concerto pour clarinette en la majeur, K.6228. Allegro 11’239. Adagio 7’32

10.Rondo 8’36

11.Adagio for Glassharmonica in C major, K.356/617a 3’48Adagio pour harmonica de verre en do majeur, K.356/617a

RichardGallianoMozArt

WOLFGANG AMADEUS MOZART {1756 / 1791}RICHARD GALLIANOaccordion (1-6; 8-11) bandonéon (7)

BERTRAND CERVERAviolin

STÉPHANE HÉNOCHviolin

JEAN-PAUL MINALI-BELLAviola

RAPHAËL PERRAUDcello

SYLVAIN LE PROVOSTdouble bass

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