Karl Koop Konzert

Comédie pompière, sociale et réaliste

pour accordéon et orchestre

à Pascal Contet

Karl Koop Konzert

Comédie pompière, sociale et réaliste pour accordéon(s) et orchestre - révision 2023
17’

Commande l’orchestre national de Lille

Jamais je n’aurais imaginé écrire un concerto pour accordéon si Pascal Contet ne m’avait joué de ce vieil accordéon italien, datant des années 30, présentant seulement trois rangées de boutons à droite, un système unique d’harmonies à gauche, et surtout un son « musette » propre à la musique populaire de cette époque, où l’accordéon était l’instrument-roi, l’instrument d’une jeunesse ouvrière, perdue mais cependant tout en espérance, de fête, ivre d’alcool, de gros rouge et de rythmes à trois temps, pour oublier les guerres passées ou ne pas penser à celle à venir, une jeunesse qui fut celle de mes parents, de mon grand-père maternelle Karl Koop, prisonnier de guerre en 1917, apprenant tout aussi bien à jouer un accordéon que venait de lui donner la Croix-Rouge, qu’à déminer les plaines du Nord, toujours en modeste autodidacte.

Cinq mouvements s’enchaînent :
musette - sans flonflon - galop pompier - musette - la fin du bal

(BC)

Karl Koop Konzert

Komödie in schwulstvoll-pompösen Stil, sozial und realistisch
für Akkordeon(s) und Orchester - Revision 2023

17’

Auftragswerk für das Orchestre national de Lille

Nie hätte ich mir vorgestellen können
ein Konzert für Akkordeon zu schreiben, wenn Pascal Contet mir nicht etwas auf diesem alten italienischen Akkordeon aus den 30er Jahren vorgespielt hätte, das nur drei Knopfreihen auf der rechten Seite und ein einzigartiges Harmoniesystem auf der linken Seite hat, und vor allem einen „Musette“-Klang hat, der der Volksmusik dieses Zeitalters eigen war.Das Akkordeon war das Königsinstrument dieser Jahre
, während der die Arbeiterjugend musizierte, verloren, aber trotzdem
voller Hoffnung, voller Feste, betrunken von Alkohol, von billigem Rotwein und Rhythmen im Dreivierteltakt, um die vergangenen Kriege zu vergessen oder nicht an die kommenden zu denken.Das war die Jugend meiner Eltern, meines Großvaters mütterlicherseits, Karl Koop, Kriegsgefangener in 1917, der sowohl lernte das Akkordeon zu spielen, welches ihm das Rote Kreuz gegeben hatte,
als auch das nördliche Flachland zu entminen, immer als bescheidener Autodidakt.

Fünf Sätze folgen aufeinander:

musette - sans flonflon - galop pompier - musette - la fin du bal

(BC)

Karl Koop Konzert

Social and realistic pump comedy
for accordion(s) and Orchestra - revision 2023
17’

Commissioned by the Orchestre National de Lille

I would never have imagined writing a concerto for accordion if Pascal Contet had not played this old Italian accordion from the thirties for me, containing only three rows of keys on the right, a unique system of harmonies on the left, and above all having a “musette” sound peculiar to the popular music of that period during which the accordion was the king of instruments, the instrument of a working-class youth, lost but still full of hope, in a celebratory mood, drunk on alcohol, on coarse red wine and three- count rhythms, in order to forget past wars or not to think about future ones, a youth that was that of my parents, of my maternal grandfather Karl Koop, prisoner of war in 2017, learning both to play an accordion just given to him by the Red Cross and to clear the plains of the North of landmines, always the modest autodidact.

There are five continuous movements:

musette - sans flonflon - galop pompier - musette - la fin du bal

(BC)

Karl Koop Konzert formation

Accordéon solo accordéon 3 voix musette et accordéon de concert

2 flûtes
(2ème aussi flûte en sol et petite flûte)

2 hautbois
(2ème aussi Cor anglais)

Cornemuse écossaise

2 clarinettes
(2ème aussi clarinette basse et petite clarinette)

2 bassons
(2ème aussi contrebasson)

2 Cors en fa*

2 trompettes en sib
(2e aussi petite trompette en sib)

2 trombones
tuba
4 percussions clavecin (amplifié) Cordes : 10 8 6 4 3

* Sur indication dans la partition, les parties de Cor en fa peuvent être substituées par des Trompes en ré. Les instruments peuvent être fournis par l’éditeur ainsi que différentes embouchures.

L’amplification du clavecin sera plus locale et l’accordéon plus générale et en façade

Karl Koop Konzert formation

Solo Accordéon accordion 3 voix musette and concert accordéon

2 flutes
(2de flute also G flute and piccolo

2 oboes
(2de oboe also English horn)

Bagpipe

2 clarinets
(2de also bass clarinet and smal clar. in Eb)

2 bassoons
(2de bassoon also dobble bassoon)

2 horns in F*

2 trumpets in Bb
(small trumpet for Ede trumpet)

2 trombones
tuba
4 percussion harpsichord (amplified) Strings : 10 8 6 4 3

* If indicated in the score, the horn parts may be replaced by hunting horns in D. The two hunting horns in D and various mouthpieces will be supplied by the publisher.

The amplification of the harpsichord will be more local and the accordion more general and in front

Karl Koop Konzert Besetzung:

Soloakkordeon
dreistimmiges Musetteakkordeon und Konzertakkordeon

2 Flöten
(die zweite auch Flöte auf G und Piccoloflöte)

2 Oborn
(die zweite auch Englischhorn)

Dudelsack

2 Klarinetten
(die zweite auch Bassklarinette und kleine Klarinette auf Es)

2 Fagotte
(die zweite auch Kontrafagott)

2 Horn auf F*

2 Trompeten auf Bb
(die zweite auch kleine Trompete auf Bb)

2 Posaunen
Tuba
4 Perussionsinstrumente Cembalo (verstärkt) Saiten: 10 8 6 4 3

* Auf Hinweis in der Partitur können die Hornstimmen in F durch Jaghörner auf D ersetzt werden.
Die beiden Jaghörner auf D werden

vom Verleger gestellt, ebenso wie verschiedene Mundstücke.

Die Verstärkung des Cembalos wird eher lokal und die des Akkordeons eher allgemein und an der Fassade erfolgen

Karl Koop Konzert

20,00 €

Nomenclature : 2 flûtes (2ème aussi flûte en sol et petite flûte)

2 hautbois (2ème aussi Cor anglais), Cornemuse 2 clarinettes (2ème aussi clarinette basse et petite clarinette) 2 bassons (2ème aussi contrebasson)

2 trompes de chasse en ré (aussi cor en fa)

2 trompettes en ut et sib (aussi petite trompette en sib pour la 2ème) trombone trombone basse tuba 4 percussions clavecin (amplifié) Cordes : 8 6 6 4 3

Autre version (other version) pour 12 musiciens

1 Flûte (aussi en Flûte en sol et Petite Flûte)

1 Saxophone (Soprano en si-, Alto en mi-, Ténor en si-)

1 Cornemuse

1 Clarinette en si- (aussi Clarinette Basse en si-)

1 Trompe de Chasse* en ré (aussi Cor en fa)

1 Trompette en ut et si- (aussi Petite Trompette en si-)

1 Trombone

Percussions

Clavecin (amplifié)

Cordes : 1 0 1 1 1

Durée : 17'

Nombre de pages : 84

Réf. : EdA-2008-02

Date de parution : 03/04/2008

ISBN / ISMN : en cours

Création : 22 mai 2008 - Lille - Nouveau Siècle

Pascal Contet (accordéon)

Orchestre national de Lille

Direction : Grant Llewellyn

Téléchargement libre et gratuit - free download

CD AEON Karl KOOP konzert

Entretiens avec Bernard Cavanna

sound

Audio/Youtube

Karl Koop Konzert

Comédie pompière, sociale et réaliste

for accordion & orchestra

Commissioned by the Orchestre National de Lille, France

The accordion holds a special place both in my heart and in my work.

A number of my compositions have an accordion in the instrumentation (e.g. operas, trios and a violin concerto);

sometimes there are as many as three, as in my mass – messe un jour ordinaire .

The accordion is also part of my past, there in my memory. I was very young when I first heard one, at my grandfather’s home in Germany.

My grandfather was Karl Koop.

He had been taken prisoner of war in 1918 and was being held by British troops. He had the good fortune to be given

an accordion by the Red Cross and taught himself to play, just as he had taught himself to clear mines from fields in the north of France.

Later, in the 1930s, when he was out of a job, he earned enough to feed his family by playing at dances.

The accordion, as we know it in France today, comes from popular music traditions in the Auvergne region of France and in Italy, not from the magnificent classical, concert accordion with the wealth of compositions from Scandinavian and former Soviet bloc countries. For many years, it was dismissed as unfashionable, the image being of country bumpkins drinking pastis and cheering as the Tour de France goes by. Only over recent years has it been officially included in courses taught at the Paris Conservatoire national supérieur . That, of course, is the concert accordion.

What I remember is my grandfather’s old-fashioned squeezebox, the sort of instrument Jacques Brel called a “rancid accordion” [accordéon rance ], or which Jo Privat described as a bellows with thumbtacks [soufflet à punaises ]. remember the superb, awkward chords of the three-voice musette [trois voix musette ], a far remove from the famous concert accordions – “Steinways with buttons ” – by names such as Ballone Burini, Pigini and Jupiter.

When Pascal Contet, both accordionist and a great accordion collector, asked me to write a concerto for him, I wanted to have the orchestra and the contrast of an archaic instrument from the 1930s, a nicely out of tune trois voix musette . I also wanted the work to include a classical accordion.

The left keyboard of the musette accordion is quite different from the “noble” accordion: it has two bass rows arranged in fifths (making it easier to play do, so, re, la, mi, ti together, than to play do, re, mi, fa, so ); and there are three rows of buttons, each playing a chord – major, minor or seventh. The chord system is also in fifths.

Before I started composing the piece, I pretended that all the instruments in the orchestra had the same ergonomics, that it would be easier for the musicians to play runs of consecutive fifths, rather than arpeggios or scales.

This cruel transposition was obviously a challenge! But the curious results produced immediately enchanted me, and I trust I’m not the only one to be enchanted.

The score has a number of movements which are played continuously, without a break; and each one is built around one feature inherent in the solo instrument (e.g. stereo sound from two keyboards, the bellows, or special playing effects such as “bellow shake ”) , creating encounters and analogies with the orchestra. Each movement has a title: musette,sans flon flon, galop pompier, la fin du bal.

The instrumentation features instruments rarely heard with orchestras, for example hunting horns (D) and bagpipes.

The concerto is dedicated to Pascal Contet, and to the memory of his mother and of my grandfather. (BC)

Traduction : Shan Benson