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2 Claude Vivier, Thérèse Desjardins A very special thanks to Thérèse Desjardins, President of Fondation Vivier, for her tireless efforts in support of Claude Vivier, and for keeping the man, the music and the memory alive. Avec tous nos remerciements à Thérèse Desjardins, Présidente de la Fondation Vivier, dont l’action inlassable a permis d’assurer la pérennité de Claude Vivier et de son œuvre. Ein ganz besonderer Dank gilt Thérèse Desjardins, Präsidentin der Fondation Vivier, für ihren unermüdlichen Einsatz für Claude Vivier, für ihr Bemühen, das Andenken an den Menschen und an sein Werk zu bewahren.
3 English Introduction By Bob Gilmore The music of the French-Canadian composer Claude Vivier (1948–1983) inhabits a twilight realm between reality and the imagination. It is a world where human beings express themselves in invented languages more often than in real ones; they are seduced by the allure of distant cities and embark on journeys, often symbolic ones in search of love or companionship; and they are haunted by the omnipresence of death, which in Vivier’s output holds dominion over everything else. All these themes characterize his largest works, the opera Kopernikus and his planned “opéra fleuve” project Marco Polo, as well as many smaller ones. Yet in the deepest sense the most frequently recurring subject in Vivier’s compositions is himself: almost all his works are essentially autobiographical. Vivier composed, in part, in order to access an inner world: as a means of confronting loneliness, darkness, terror; of negotiating a relationship with God; of voicing an insatiable longing for acceptance and for love. Born to unknown parents in Montréal, he was adopted at the age of two by the Vivier family and grew up in a working-class part of the city. From the age of thirteen he attended two boarding schools run by the Frères Maristes, a Catholic order that prepared pupils for a life in the priesthood. There, the young Claude showed considerable scholastic promise and discovered music in a moment of epiphany, singing in a midnight mass. His tastes quickly turned to the 20th century, and two Bartók-like organ pieces survive among his juvenilia. However, to his own disappointment, he was advised to leave the seminary at the age of 18, his teachers feeling that his temperament was too sensitive and excitable for a religious vocation. He turned to music and produced his opus 1, the Quatuor à cordes, during the first year of his studies at the Conservatoire de musique du Québec à Montréal under Gilles Tremblay. The earliest works in Vivier’s catalogue show him immersed in the avant-garde techniques of the 1960s. Hiérophanie is an exuberant venture into instrumental musictheatre, whereas Musik für das Ende is a more sober vocal ritual inspired by the suicide of a playwright friend. Vivier spent the years 1971–74 in Europe, where he studied electronic music for a year at the Institute of Sonology in Utrecht, and then composition with Karlheinz Stockhausen at the Hochschule für Musik in Cologne. His experiences with Stockhausen marked him profoundly. Under his tutelage Vivier experienced what he described as a musical rebirth and produced a work that marked “the true beginning of my life as a composer”: Chants, for seven female voices, a sort of requiem in which Catholic solemnity and childhood high spirits mix in a wonderfully personal idiom. The rigorously post-serial Désintégration for two pianos and six strings was performed at Darmstadt in 1974. At the end of his European studies he wrote Lettura di Dante, an
Page 1 and 2: 1 Vivier works Œuvres werke Claude
Page 3: Table of Contents / Table des mati
Page 7 and 8: 5 imaginaire, his penultimate work,
Page 9 and 10: 7 l’œuvre rigoureusement postsé
Page 11 and 12: 9 Deutsch Einführung Von Bob Gilmo
Page 13 and 14: 11 Renaissance sowie verschiedenen
Page 15 and 16: Abv English Français Deutsch Voice
Page 17 and 18: 15 Opera / Opéra / Oper Kopernikus
Page 19 and 20: 17 FULL ORCHESTRA / GRAND ORCHESTRE
Page 21 and 22: 19 VOICE(S) WITH ORCHESTRA / VOIX A
Page 23 and 24: 21 Courtesy Fondation Vivier Zipang
Page 25 and 26: 23 Cinq chansons pour percussion Fo
Page 27 and 28: 25 Et je reverrai cette ville étra
Page 29 and 30: 27 Learning Pour quatre violons et
Page 31 and 32: 29 Anmerkung Prolifération entstan
Page 33 and 34: 31 ENSEMBLE AND CHAMBER WITH VOICE(
Page 35 and 36: 33 Liebesgedichte For SATB soloists
Page 37 and 38: 35 Anmerkung Ojikawa ist das erste
Page 39 and 40: 37 PIANO(S) / PIANO(S) / KLAVIER(E)
Page 41 and 42: 39 INSTRUMENTAL / MUSIQUE INSTRUMEN
Page 43 and 44: 41 Repertoire Note In the autumn of
Page 45 and 46: 43 Courtesy Fondation Vivier Ce n
Page 47 and 48: 45 Love Songs For four women and th
Page 49 and 50: 47 VOCAL / musique VOCALE / vokalmu
Page 51 and 52: 49 Anmerkung In einem seiner letzte
Page 53 and 54: 51 recommended Recordings / Enregis

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