Ernest Ansermet

Infobox musical artist
Name = Ernest Ansermet


Background = classical_ensemble
Birth_name = Ernest Alexandre Ansermet
Born = birth date|1883|11|11
flagicon|CHE Vevey, Switzerland
Died = death date and age|1969|02|20|1883|11|11
Geneva, Switzerland
Genre = Classical
Occupation = Conductor, pedagogue
Years_active =
Associated_acts = Orchestre de la Suisse Romande

Ernest Alexandre Ansermet (November 11, 1883 – February 20, 1969) was a Swiss conductor.

Biography

Ansermet was born in Vevey, Switzerland. Although he was a contemporary of Wilhelm Furtwängler and Otto Klemperer, Ansermet represents in most ways a very different tradition and approach from those two musicians. Originally he was a mathematics professor, teaching at the University of Lausanne. He began conducting at the Casino in Montreux in 1912, and from 1915 to 1923 was the conductor for Diaghilev's Ballets Russes. Traveling in France for this, he met both Debussy and Ravel, and consulted them on the performance of their works. During World War I, he met Stravinsky, who was exiled in Switzerland, and from this meeting began the conductor's lifelong association with Russian music.

In 1918, Ansermet founded his own orchestra, the Orchestre de la Suisse Romande (OSR). He toured widely in Europe and America and became famous for accurate performances of difficult modern music, making first recordings of works such as Stravinsky's "Capriccio" with the composer as soloist. Also, Ansermet was one of the first in the field of classical music to take jazz seriously, and in 1919, he wrote an article praising Sidney Bechet.

After World War II, Ansermet and his orchestra rose to international prominence through a long-term contract with Decca Records. From that time until his death, he recorded most of his repertoire, often two or three times. His interpretations were widely regarded as admirably clear and authoritative, though the orchestral playing did not always reach the highest international standards, and they differed notably from those of other famous 20th-century specialists, notably Pierre Monteux and Stravinsky himself. Ansermet disapproved of Stravinsky's practice of revising his works, and always played the original versions. Although famous for performing much modern music by other composers such as Arthur Honegger and Frank Martin, he avoided altogether the music of Arnold Schoenberg and his associates, even criticizing Stravinsky when he began to use twelve-tone techniques in his compositions. [cite journal | last=Krausz | first=Michael | authorlink= | coauthors= | year=1984 | month=Summer| title=The Tonal and the Foundational: Ansermet on Stravinsky | journal=The Journal of Aesthetics and Art Criticism | volume=42 | issue=4 | pages=383–386 | id= | url= | accessdate=2007-09-14| doi=10.2307/430211] In Ansermet's book, "Les fondaments de la musique dans la conscience humaine" (1961), he sought to prove, using Husserlian phenomenology and partly his own mathematical studies, that Schoenberg's idiom was false and irrational.

In his last years, he and his ensemble surprised many by issuing discs devoted to Haydn, Beethoven and Brahms. These performances were not at all conventionally Germanic, and were much criticized at the time of their appearance, but during recent years their vivacity has come to be appreciated more.Fact|date=July 2007

In May 1954, Decca recorded Ansermet and the orchestra in Europe's first commercial stereophonic recordings. They went on to record the first stereo performance of the complete "Nutcracker" by Tchaikovsky on LP (Artur Rodzinski had already recorded a stereo performance on magnetic tape, but this had been released on LP only in mono). Ansermet also conducted early stereo recordings of Claude Debussy's "Nocturnes" and the "Prelude to the Afternoon of a Faun".

Ansermet was an ardent man who argued his opinions vehemently. He was notable in Britain for his argumentative rehearsals with British orchestras, who were used to the more jovial style of Sir Thomas Beecham or the more restrained manner of Sir Adrian Boult. His last recording, of Stravinsky's "Firebird," was made in London with the New Philharmonia Orchestra, which included a recording of the rehearsal sessions made as a memorial to him.

Ansermet composed some pieces for the piano and orchestra, among them a symphonic poem entitled "Feuilles de Printemps" (Leaves of Spring).

Notable premieres

In concert

*Stravinsky, "Histoire du soldat", Lausanne, 28 September 1918
*Stravinsky, "Capriccio for Piano and Orchestra", composer as soloist, December 6, 1929

On stage

*De Falla, "The Three-cornered hat", Ballet Russes, Paris, 1919, a ballet for which Leonide Massine created the choreography and Pablo Picasso designed the sets and costumes. (Ansermet later recorded this in stereo.)
*Stravinsky, "Pulcinella", Ballets Russes, Paris, 15 May 1920
*Prokofiev, "Chout", Ballets Russes, Paris, 1921
*Stravinsky, "Renard", Ballets Russes, Paris, May 18 1922
*Stravinsky, "Les Noces", Ballets Russes, Paris, June 13, 1923

On record

*Stravinsky, "Capriccio for Piano and Orchestra", composer as soloist, May, 1930

Writings

*Ansermet, Ernest. 1961. "Les fondements de la musique dans la conscience humaine". 2 v. Neuchâtel: La Baconnière. New edition, edited by J.-Claude Piguet, Rose-Marie Faller-Fauconnet, et al. Neuchâtel: La Baconnière, 1987. ISBN 2825202118
*Ansermet, Ernest. 1973. "L'apport de Paul Hindemith à la musique du XXe siècle." In "Hommage à Paul Hindemith: 1895-1963 : l'homme et l'œuvre". Yverdon: Éditions de la Revue musicale de suisse romande.
*Ansermet, Ernest. 1983. "Ecrits sur la musique". Edited by Jean-Claude Piguet. New rev. ed. Neuchâtel: La Baconnière. ISBN 282520207X

Correspondence

*Piguet, Jean-Claude (ed.) 1976. " _fr. Ernest Ansermet, Frank Martin: Correspondance, 1934–1968". Edited by Jean-Claude Piguet, with notes by Jacques Burdet. Neuchâtel: La Baconnière.
*Tappolet, Claude (ed.). 2006. " _fr. Ernest Ansermet, correspondances avec des compositeurs américains (1926–1966): d'Aaron Copland à Virgil Thomson, les grands maîtres du nouveau monde". Geneva: Georg.
*Tappolet, Claude (ed.). 1999. " _fr. Ernest Ansermet: Correspondances avec des chefs d'orchestre célèbres (1913–1969): précédées d'un Souvenir d'Arturo Toscanini par Ernest Ansermet (1967)". Geneva: Georg. ISBN 2825706620
*Tappolet, Claude (ed.). 1998. " _fr. Correspondance E. Ansermet - J.-Claude Piguet (1948-1969) ". Preface by Philippe Dinkel, postface by Jean-Jacques Langendorf. Geneva: Georg Editeur.
*Tappolet, Claude (ed.). 1990–91. " _fr. Correspondance Ansermet-Strawinsky (1914–1967)". Geneva, Switzerland: Georg.
*Tappolet, Claude (ed.). 1989a. " _fr. Correspondance Ansermet-Ramuz, 1906–1941". Preface by Maurice Zermatten. Geneva: Georg; Paris: Eshel. ISBN 2825701831
*Tappolet, Claude (ed.). 1989b. "Lettres de compositeurs suisses à Ernest Ansermet, 1906-1963 " Avant-propos by Conrad Beck; postface by Julien-François Zbinden. Geneva: Georg. ISBN 2825701696
*Tappolet, Claude (ed.). 1983. " _fr. Correspondance Ernest Ansermet, R.-Aloys Mooser: 1915-1969. Précédée d'un Voyage à Munich (1924) et suivie d'un Hommage à Ernest Ansermet par R.-Aloys Mooser (1969)". Preface by René Dovaz. Geneva: Georg. ISBN 2825700924

References

External links

*allmusic|41:10370
* [http://www.bach-cantatas.com/Bio/Ansermet-Ernest.htm Ernest Ansermet biography] at the Bach Cantatas Website
* [http://www.scona.ch/ansermet/discografia.php?ishow=0/ Ernest Ansermet discography]