Listening Guide
This programme presents a collection of chamber music compositions for oboe, oboe d’amore, English horn, and bassoon, with or without piano accompaniment. Several of these pieces were specifically composed for the performers on this CD and are being recorded here for the first time.
À la lisière du temps (2022)
Again in a single movement, this piece—dedicated to Marika Lombardi, Jean-Pierre Arnaud, and Valérie Granier—unfolds over various sections in the sequence: Largo, Andantino, Allegro, Lento, Andante (recitativo), Adagio, Andantino, Allegretto, Vivo, Largo. The slower sections strive to articulate the sensation experienced when time seemingly stands still, placing the musician as if on the verge of an unknown realm. The brisker sections allude to an expedition towards an uncharted elsewhere, while the most vivacious segment is indicative of a kind of euphoria. The concluding section revisits the initial writing, leaning ever more towards silence and tranquillity.
Les premiers signes de l’aurore (2018)
This piece, dedicated to Marika Lombardi, aims to delve into the poetic space unique to the oboe d’amore, standing at the crossroads between the brilliant luminance of the oboe and the melancholic chiaroscuro of the English horn. Against a harmonic backdrop punctuated by minor keys, the oboe d’amore unfurls a sustained arabesque that maintains a consistent dialogue with the piano, much like two solitary voices endeavouring to share an intimate secret. At a particular juncture, the piece subtly stirs without relinquishing its predominantly vocal writing, reaching a minor apex marked by a fleeting motif reminiscent of an enigmatic query, destined to remain unanswered. Thereafter, both instruments revert to the serenity of the original ambience, resuming their emotional journey, gradually nearing the boundaries of silence.
Quatre pièces en canon (1992)
Distinguished by contrasting moods, these four brief pieces meticulously exploit the unison canon, with both instruments performing precisely the same part, albeit staggered by a few beats. Consequently, the timbre of the twin oboes often merges, whilst the notes intertwine and chafe against one another. These canons serve as a form of preliminary study for the Vingt-quatre Préludes for Orchestra (1992), wherein each prelude is constructed using canon technique across varied contrapuntal and orchestral configurations.
Sonate pour basson et piano (2018)
This sonata is a part of a series of sonatas for piano dedicated to woodwinds, including: « Ô quelle distance, la sérénité ! » (Oh, How Vast the Serenity!) for flute and piano; « Éloge de la candeur » (In Praise of Innocence) for oboe and piano; « Abimes » (Abysses) for clarinet and piano; and « Éloge de la folie » (In Praise of Folly) for saxophone and piano. Devoid of a specific title, this single-movement bassoon and piano sonata principally juxtaposes two opposing moods: the opening motif is labelled “alert, with humour”, while the subsequent motif is “gentle and warm”. Later, another motif emerges, tagged “dreamy”, followed by another, “mischievous”. At certain intervals, these moods converge, compelling the performers to evoke a “playful and mysterious” aura. In doing so, the composer seeks to accentuate the bassoon’s rhythmic agility and its tender, warm lyricism, whilst the piano engages in both spirited exchanges and passionate outpourings, continuously underpinning the melodic structure with a fluctuating, ever-renewed current.
Au bord du souffle (2022)
This composition, dedicated to Marika Lombardi, Jean-Pierre Arnaud, and Geneviève Girard, unfolds in three stages. During the initial phase (“Intimate, distant”), the oboe and English horn are backgrounded, manoeuvring between pianissimo and mezzo-piano nuances. As the piano emerges with a brief cadence, interlaced with a cryptic chorale, the wind players transition to the foreground. This cues the commencement of the second phase (“Calm, silent”), exuding an atmosphere of sheer stillness. This segment epitomises the piece’s title, as the oboe and English horn are tasked to perform literally “at the edge of breath”, verging on silence. The dialogue among the trio persists and intensifies, seamlessly ushering in the third phase (“Joyful, airy”), which possesses a more fluid, brisk character, culminating in radiant exuberance.
The composer
Anthony Girard
Anthony Girard’s musical language is distinguished by its emphasis on melodic design, lyricism, and arabesque. His harmony is modal, continually seeking refreshed hues; his rhythmic notation, at times obsessive, often settles within a timeless realm. The composer is fond of narrative structures, sometimes meditative, with dreamlike qualities. Rooted in the legacy of the French school, particularly in terms of harmonic and orchestral exploration, Anthony Girard’s work was influenced in his younger years by diverse elements: medieval polyphony, traditional Indian music, and select minimalist works. These influences allowed him to craft a distinctive style, further enriched by readings of mystical and poetic texts. Through some of his inspirational themes, Girard seems drawn towards light, joy, and simplicity. However, this spiritual aspiration is rooted in nostalgia and unease, which also feed the emotional part of his language. Thus, his music stands between the disillusionment of the contemporary artist and the desire to share a still-possible experience of beauty.
Born in 1959, Anthony Girard pursued his studies at the National Conservatory of Paris, where, from 1980 to 1986, he secured five First Prizes in harmony, counterpoint, analysis, orchestration, and composition. Concurrently, he pursued a course in music history at the Sorbonne University, earning a DEA in 1985. From 1986 to 1988, he resided at the Casa de Velasquez in Madrid.
By 2023, his repertoire includes nearly two hundred and fifty compositions. He has collaborated with various ensembles such as the Radio-France Philharmonic Orchestra, the Colonne Orchestra, the National Orchestra of Lille, the Picardy Orchestra, the Bernard Calmel Orchestra, the À Ciel Ouvert ensemble, the Arpeggione Quartet, and the Carpe Diem ensemble. His compositions have been recorded numerous times, including twelve monographic albums: Œuvres orchestrales, Musique sacrée (Pavane), Le cercle de la vie, Behind the light (Naxos), Music for harpe (Harp&Co), Chemins couleur du temps (double CD Folle Avoine), Derniers instants avant la nuit (Hortus), Œuvres pour violon (Azur Classical) Éloge de la candeur, Effleurer le silence et Loin, toujours plus loin (Centre International Albert Roussel).
Since 2009, Anthony Girard has been teaching orchestration and musical analysis at the CRR of Paris and orchestration at the CNSMDP since 2012.
The performers
Marika Lombardi
An Italian oboist, Marika Lombardi studied at the CNSM in Milan, clinching top honors in both oboe and chamber music under M. Possidoni. She began her solo career in Milan in 1988, accompanied by the orchestra of Daniele Gatti. Later, she pursued further studies in Paris, achieving multiple accolades. Having honed her skills under renowned maestros such as Pierre Pierlot, Hansjörg Schellenberger, Maurice Bourgue, and more, she is a recipient of numerous international oboe and chamber music awards. She regularly graces stages across Europe and the USA for chamber music and orchestral performances. Since 2000, she has been the artistic director of several music academies and festivals. From 1992, she has been teaching the oboe at multiple institutions in Paris. Marika Lombardi is also doing improvisations and she is à Soundpainter
Jean-Pierre Arnaud
Introduced to the world of oboe and cor anglais at the Saint Étienne Conservatory by Gérard Perreau, Jean-Pierre quickly made a mark, playing at the city’s Lyric Theatre by fifteen. His time at the Paris Conservatory under Pierre Pierlot catapulted him to international recognition. From Salzburg festivals to interpreting Anthony Girard’s creations, his journey has been illustrious. In 1984, he joined the Paris Opera Orchestra as a solo English horn player. Jean-Pierre is a dedicated interpreter of Anthony Girard’s oboe works and devoted a 2021 CD to him, “Éloge de la candeur”, alongside pianist Geneviève Girard.
Valérie Granier
Starting with vocals and piano, Valérie eventually shifted her focus to the German-system bassoon, training in France, Switzerland, and Germany. This global perspective allowed her to delve deep into bassoon repertoire and chamber music. Valérie has played as the principal bassoonist for renowned orchestras in France and internationally. Presently, she teaches bassoon at several conservatories and holds the position of principal bassoonist at the Théâtre de Rungis Orchestra. Valérie’s vast experience includes participation in jazz, rock, pop groups, and musical projects for theater and podcasts.
Geneviève Girard
A pianist by profession, Geneviève Girard dedicates her concerts to contemporary music, specifically pieces by composers Anthony Girard and Valéry Arzoumanov. She has collaborated with ensembles like À ciel ouvert and Carpe Diem, often giving recitals in Paris. Her discography includes releases from labels such as Pavane and Naxos. Presently, she imparts her knowledge at the Maurice Ravel Conservatory and the École Normale in Paris.