Arthur Honegger was born 10 March, 1892 in Le Havre (France) and died on 27 November, 1955 in Paris. He was born the son of the tradesman Arthur Honegger (1851-1922) and his wife Julie Ulrich (1859-1922), both from the canton of Zurich. Honegger grew up in France after his parents emigrated to a Swiss colony in Le Havre where his father became a successful importer of coffee. The family returned, however, to their native Switzerland in 1913. Honegger was an official citizen of Switzerland and of the canton of Zurich where he became resident in 1919. He received violin lessons from professor Santreuil and was instructed in harmony by the organist Robert-Charles Martin early on. His first ambitious works remain chiefly unfinished, examples include the operas 'Philippa' and 'Sigismond', sonatas and the 'Oratorio du Calvaire'.
Honegger not only spent each summer in Zurich but also lived there between the months of September 1909 and June 1911. He attended Zurich conservatory during this time and received instruction from Willem de Boer (1885-1962) on the violin, Lothar Kempter (1844-1918) in music theory and Friedrich Hegar (1841-1927) in composition. The first work to be presented for publication through the Desforges Publishers in Le Havre was the 1910 composed 'Trois pièces' for piano. From 1911 onwards Honegger studied counterpoint under André Gédalge (1856-1926) and violin under Lucien Capet (1873-1928) at the conservatory in Paris. During his first years there the young Honegger commuted between Le Havre and Paris before finally settling in Paris in 1913. Between 1911 and 1917 he became acquainted with the members of the future 'Groupe des Six': Darius Milhaud (1892-1974), Germaine Tailleferre (1892-1983), Georges Auric (1899-1983), Francis Poulenc (1899-1963), Erik Satie (1866-1925) and Louis Durey (1888-1979). He met Jean Cocteau (1889-1963), the literary head of the group, in 1917. Honegger returned to Paris in the Autumn of 1915 following an extended period in Switzerland during which he completed his obligatory military service. From then on he attended the composition class of Charles-Marie Widor (1844-1937), studied conducting under Vincent d'Indy (1851-1931) and music history with Maurice Emmanuel (1862-1938). At that time he also met the pianist Andrée Vaurabourg (1894-1980) whom he befriended, implemented concerts with and later, in 1926, married. Honegger caused a scandal in December 1918 with the scenic piece 'Le Dit des jeux du monde' in cooperation with poet Paul Méral and performed at the Parisian 'Théatre du Vieux-Colombier'.
Honegger concretised his unification with the 'Groupe des Six' following his graduation from the conservatory in 1918. A joint concert in Paris on January 8, 1920, and an article published in the magazine 'Comoedia' by Henri Collet established the 'Groupe des Six'. In January 1920 Honegger composed the piano piece 'Sarabande' for the 'Album des Six'. A new aesthetic of simplicity was primarily conceived in Cocteau's 'Le Coq et l'Arlequin' which was, however, not accepted by all members of the group. There is no single common musical language which can be elicited from the 'Groupe des Six', it was rather more a group of friends with individual artistic notions. Indeed Honegger saw himself as the Beethoven - Brahms successor and hence looked upon the 'musique d'ameublement' of Erik Satie as having little meaning.
Honegger broke onto the international scene with his biblical drama 'Le Roi David' (1921), commissioned by the poet Réne Morax (1873-1963) it was world premiered on June 11, 1921, at the 'Théâtre du Jorat' in Mézières. Werner Reinhart (1884-1951), a musician from Winterthur, was a generous patron of the theatre and became a friend of Honegger at that time. Honegger dedicated the 'Sonatine' for clarinet and piano to the amateur clarinettist. In March 1921 he signed a contract with Sénart which remained effectual until 1946. An intensification of the cooperation between Honegger and Cocteau after 1922 led to the production of the stage music for the theatre piece 'Atigone' in 1922 and the opera 'Atigone' in 1927 which was world premiered in Brussels. In 1923 Honegger composed one of his most popular pieces, the symphonic movement 'Pacific 2.3.1' which expressed his fascination with technology. In 1924 he received a new commission for the Théâtre du Jorat from Réne Morax which enabled him to realise the biblical drama 'Judith'. Honegger fell in love with the singer Claire Croiza (1882-1946) who was to perform the leading role. This relationship led to the birth of Jean-Claude on 26 April, 1926. Shortly after Honegger married his partner of many years Andrée Vaurabourg who gave birth to their daughter, Pascale, on 11 August, 1932. A serious car accident in 1932, from which Vaurabourg would never completely recover, changed her life completely. She held a certain resentment when she became a teacher after the end of the second world war. Pierre Boulez (born 1925) was one of her students. Following 1925 Honegger worked together with the actress and dancer Ida Rubinstein (1885-1960) who commissioned several works from Honegger including the music to the tragedy 'Phaedre' by Gabriele d' Annunzio. Rubinstein personified the main character Jeanne at the world premiere of 'Jeanne d'Arc au bûcher' on 12 May, 1938, in Basel. Honegger approached the aesthetic orientation of the 'Groupe des Six' with the operetta 'Les Aventures du Roi Pausole', a work based on a text by Albert Willemetz (1887-1964). It was a great commercial success and even saw a performance in the German language in Zurich. After 1929 Honegger kept regular contact with Paul Sacher (1906-1999) who brought his drama, 'König David', to a performance in the German language in Basel on 4 July, 1929. He regularly used the secluded property of Sacher on Schönenberg near Pratteln in canton Basel-Land for composing and deepened the friendship with him during a mutual trip to Ireland in 1948. Honegger composed the 'Symphonie n° 2 pour cordes' (world premiered in 1942) and the 'Symphonie n° 4 Deliciae basilienses' for the tenth, respectively twentieth, anniversary of the Basel Chamber Orchestra. Last but not least Honegger composed the ecclesiastical piece 'La Danse des morts' for Sacher. Honegger worked together with the poet Paul Claudel (1868-1955) after 1934 and produced thereby the pieces 'La Danse des morts' (world premiered in 1940), 'Jeanne d'Arc au bûcher' and the music for radio 'Tête d'Or'. On 7 March, 1936, Honegger moved into his studio at 71 Boulevard de Clichy in the centre of Paris where he lived and worked until his death. He remained in occupied Paris with Andrée Vaurabourg during the Second World War, refusing the possibility as a Swiss citizen of returning to his relatively secure homeland. Concerts abroad, which, as a Swiss, were still possible, led him with few exceptions to neutral or occupied countries.
The prolific composition of music for film (until 1943 he produced 37 scores) continued only sporadically after the end of the war, he concluded this genre with the music for a film about Paul Claudel in 1951. Honegger entered into in an intimate relationship with Madame Suzanne Charlotte Agassiz which lasted from 1942 until 1954. The liaison is confirmed by
numerous unpublished letters sent by the composer. In 1945 he composed the
'Symphonie n° 3 Liturgique'.From November of 1946 onwards he worked as a tutor at the 'Ecole Normale de Musique' in Paris. Honegger suffered a serious heart attack during a course for composition held at the Berkshire Music Center in Tanglewood (USA) in the summer of 1947. Recuperation stays in Bagnoles-de-l'Orne (1948, 1951), Val-Mont (1952) and in the Bircher-Benner Clinic (1952) were made necessary due to the deteriorating condition of his health. In 1948 Honegger was conferred the doctorate honoris causa by the University of Zurich. Following the end of the 1940's Honegger became increasingly engaged as a musical politician, he was elected president of CISAC (Confédération Internationale des Sociétes d' Auteurs et Compositeurs) on 16 October, 1948, this position led him to participate at a UNESCO congress. On 3 April, 1952, Arthur Honegger became a foreign member of the 'Académie des beaux-arts' (Institut de France). Despite illness Honegger was still able to complete important works associated with his late period such as 'Monopartita', 'Suite archaique', 'Une cantate de Noel' and 'Symphonie n° 5'. Arthur Honegger died in his studio on the Boulevard de Clichy on 27 November, 1955.
1. Sonate N° 1 en ut mineur (14'25'')
2. Sonate N° 2 en fa majeur (13'20'')
3. Sonate N° 3 en ut mineur (22'35'')
4. Sonate N° 4 en si mineur (17'15'')
5. Sonate N° 5 en la mineur (12'30'')
6. Sonate N° 6 en sol majeur (12'25'')
Bibliothèque nationale de France
Paris
Trois pièces, H. 1 (1909-1910)
Strumentazione: pour piano
1. Scherzo
2. Humoreske
3. Adagio espressivo
Durata: 8' 00" Manuscritto
Sonate en ré mineur, H. 3 (1912)
"N° Zéro"
Strumentazione: pour violon et piano
Durata: 25' 00"
Paul Sacher Stiftung
Auf Burg, Münsterplatz 4 CH-4051 Basel Schweiz
Quatuor à cordes n° 1 en ut mineur, H. 15 (1913-1917)
Strumentazione: pour récitante (Sémiramis), soprano, deux ténors, deux basses, choeur mixte à cinq voix (SMezzoATB) et orchestre (3,3,4,3,sax - 4,3,3,1 - timb, cymb-susp, tam-tam, tamb, bloc, gr-c, ondes Martenot(2), hp(2), pno(2), cél - cordes)
Strumentazione: pour orchestre (3 (picc),3 (cor-ang),3 (cl-b),3, sax - 4,3 (une petite en ré, deux an ut),0,1 - trgl, cymb, wood-bloc, caisse claire, crécelle, tamb, tamb-basque - hp - cordes)
31/33, rue Vandrezanne 75013 Paris Frankreich Tel. 01.53.80.12.30 Fax 01.53.80.12.18 cdm@harmoniamundi.com
Deux chansons du film Les Mutinés de "L'Elseneur", H. 100 A (1936)
Strumentazione: pour chant et piano
1. Du Whisky pour Jo (Nino)
2. "L'Elseneur" est un voilier à vaches (Robert Desnos)
Manuscritto
Deux chansons du film Nitchvo (ou L'Agonie du Sous-Marin), H. 106 A (1936)
Strumentazione: pour chant et piano
1. De l'Atlantique au Pacifique
2. Triste est mon coeur
Manuscritto
L'Aiglon, H. 108 (1936-1937)
Strumentazione: pour rôles chantés, choeur d'hommes et orchestre (2(picc),2,2,2 - 4,3,3,1 - timb, trgl, tam-tam, cymb, caisse claire, caisse roulante, gr-c, hp - cordes)
Testo: Edmond Rostand (Henri Cain)
Personnages:
le duc de Reichstadt (S)
Thérèse (S)
Marie-Louise (S)
la comtesse (S)
Fanny Elssler (Mezzo)
Gentz (T)
l'attaché (T)
Flambeau (Bar)
Metternich (Bar)
Prokesch (Bar)
Marmont (B)
Une chanson du film "Les Bâtisseurs", H. 126 A (1937)
Strumentazione: pour choeur d'hommes (TTBarB) et orchestre (1,1,1,1,sax - 0,2,1,0 - perc (trgl, cymb, tamb, gr-c), pno - cordes)
Testo: Robert Desnos
Durata: 4' 00" Manuscritto
Les Petites Cardinal, H. 128 (1937)
Opérette en deux actes et dix tableaux
Strumentazione: pour rôles chantés et rôles parlés, choeur (SATB) et orchestre (1,1,1,1,sax - 1,1,1,0 - perc, pno - cordes)
Testo: Albert Willemetz et Paul Brach après le roman de Ludovic Halévy
Personnages:
Pauline
Virginie
Marguerite
la commère (S)
7 petits rôles dans le Finaletto-Revue (S)
Mme Cardinal (Mezzo)
M. Cardinal (T)
M. Pluque (T)
Jacques (T)
Mario (T)
le Marquis de Cavalcanti (T)
le régisseur (T)
Faust (T)
M. Durand/Rebuffat (T)
le compère (T)
Méphisto (B)
En collaboration avec Jacques Ibert.
Quatre Chansons pour voix grave, H. 184 (1940-1945)
Strumentazione: pour chant et piano
1. La douceur de tes yeux (Archag Tchobanian)
2. Derrière Murcie en fleurs (William Aguet)
3. Un grand sommeil noir (Paul Verlaine)
4. La terre les eaux va bouvant (Pierre de Ronsard)
1. Le Château du Bartas
2. Tout le long de la Baïse
3. Le Départ
4. La Promenade
5. Nérac en fête
6. Duo
Durata: 7' 00"
Henry Lemoine
24, rue Pigalle F-75009 Paris Tel. +33 1 48 74 09 25 Fax +33 1 45 26 74 42
La Mandragore. H. 146 (1941)
Musique de scène
Strumentazione: pour fl, sax-a, hp, pno à quatres mains, tambour de basque, vl(2), vla, vcl
Testo: Machiavel
Pour la pièce de Machiavel.
Durata: 21' 00" Manuscritto
Les Suppliantes, H. 147 (1941)
Musique de scène
Strumentazione: pour choeur de femmes, ténor solo et choeur d'hommes et orchestre (cl(2), bn(2), trp(3), trb(4), ondes Martenot, timb, perc (cymb, trgl, tam-tam, tamb, caisse roulante, caisse claire, gr-c, crécelle)
Testo: Eschyle (André Bonnard)
Pour la tragédie d'Eschyle, dans la traduction d'André Bonnard.
Hymne au Sport du film "La Boxe en France", H. 160 A (1942)
Strumentazione: pour chant et piano
Testo: José Bruyr
Durata: 3' 20"
Editions Choudens
38, rue Jean Mermoz 75008 Paris Frankreich
Cinq chansons du film "Le capitaine Fracasse", H. 166 A (1942)
Strumentazione: pour chant et piano
1. Sérénade de Scapin (J. Giot)
2. Ariette "Si mon coeur parlait, Lysandre" (André de Badet)
3. Chanson du chariot de Thespis (André de Badet)
4. Chanson du chariot de Thespis (autre musique)
5. Chanson pour Isabelle
Manuscritto
Le Journal tombe à 5 heures, H. 156 (1942)
Strumentazione: pour orchestre (1,1,1,1, sax-a - 0,2,2,0 - pno, perc (tam-tam, trgl, cymb, gr-c, wood-bloc) - cordes (sans cb)
Musique pour le film de Georges Lacombe.
Durata: 28' 00"
Editions Choudens
38, rue Jean Mermoz 75008 Paris Frankreich
Huit hommes dans un château, H. 157 (1942)
Musique pour le film de Richard Pottier.
Durata: 7' 00" Manuscritto
Les Antiquités de l'Asie occidentale, H. 158 (1942)
Strumentazione: pour orchestre (1,1,1,1,sax-a - 0,2,2,0 - timb, perc (xylo/cél, tam-tam, trgl, cymb, caisse roulante), pno, hp - cordes (vc, cb seulement)
Musique pour le court-métrage documentaire d'Henri Membrin.
Durata: 17' 00" Manuscritto
Secrets, H. 161 (1942)
Strumentazione: pour orchestre (1,1,1,1, sax-a - 0,2,2,0 - perc (cél, vibra, tam-tam, trgl, cymb, caisse roulante, gr-c, wood-bloc), pno, hp - cordes)
Honegger, Arthur:Ecrits, hrsg. von Calmel Huguette, Genf; Paris 1992
Brotbeck, Roman: Ambivalenzen – Arthur Honeggers strategische Anpassungen von 1940–45, in: in Frankreich. Internationales Symposium des Wissenschaftlichen Beirates der Kurt Weill-Gesellschaft Dessau, 2.–4.3.2012 2013
Tchamkerten, Jacques: Arthur Honegger: Lettres à Suzanne Charlotte Agassiz (1942-1954), in: Dissonanz 118 (2012), S. 86 [Internet]
Calmel, Huguette (et al.):"Jeanne d'Arc au bûcher" de Paul Claudel et Arthur Honegger (Mélophiles. 7e note 3), Drize 2004
Lécroart, Pascal:Paul Claudel et la rénovation du drame musical. Etude de ses collaborations avec Darius Milhaud, Arthur Honegger, Paul Collaer, Germaine Tailleferre, Louise Vetch (Collection Musique-Musicologie), Sprimont 2004
Rosteck, Jens: Artikel "Honegger, (Oscar) Arthur", in: Die Musik in Geschichte und Gegenwart (Zweite Auflage), Personenteil, Bd. 9, hrsg. von Ludwig Finscher, Kassel; Basel 2003, Sp. 304-318
Waters, Keith:Rhythmical and contrapuntalstructures in the music of Arthur Honegger, Aldershot 2002
Müller, Patrick: Bilder und Tänze des Todes. Zu "La Danse des Morts" von Paul Claudel und Arthur Honegger, in: Texte zur Chormusik. Festschrift zum zehnjährigen Jubiläum des Internationalen Chor Forums ICF, hrsg. von Gerhard Jenemann, Stuttgart 2001, S. 27-35
Spratt, Geoffrey K.: Artikel "Honegger, Arthur", in: The New Grove dictionary of music and musicians (Zweite Auflage), Bd. 11, hrsg. von Stanley Sadie, London 2001, S. 679-648
Hirsbrunner, Theo: Die Situation des französischen Musiktheaters in der Zwischenkriegszeit am Beispiel von Arthur Honeggers "Antigone" und Igor Strawinskys "Oedipus Rex", in: Inszenierte Antike - Die Antike, Frankreich und wir. Neue Beiträge zur Antikenrezeption in der Gegenwart (Trierer Studien zur Literatur 33), Frankfurt am Main 2000, S. 169-178
Mosch, Ulrich: Vom "biblischen Drama" mit Musik zum Oratorium. Arthur Honeggers "Judith" (1925/1927), in: "Entre Denges et Denezy...". Dokumente zur Schweizer Musikgeschichte 1900-2000, hrsg. von Ulrich Mosch, Mainz 2000, S. 185-191
Starobinski, Georges: Eine "dramatische Legende" in volkstümlichem Stil. Arthur Honeggers "Nicolas de Flue" (1938-39), in: "Entre Denges et Denezy...". Dokumente zur Schweizer Musikgeschichte 1900-2000, hrsg. von Ulrich Mosch, Mainz 2000, S. 429-435
Ocampo, Rebecca G.:Jean Cocteau. The composer's muse, Dissertation University of Maryland, College Park 1999
Rosteck, Jens: Das Haupt des Holofernes. Arthur Honegger zwischen Claire Croiza und Andrée Vaurabourg, in: Im Dreieck. Liebesbeziehungen von Friedrich Nietzsche bis Marguerite Duras, hrsg. von Unda Hörner, Frankfurt 1999, S. 200-231
Anders-Malvetti, Ursula:Ästhetik und Kompositionsweise der Gruppe der Six. Studien zu ihrer Kammermusik aus den Jahren 1917-1921, Echternach 1998
Bernhard-Krauss, Geneviève: Honegger/Claudels Oratorium Jeanne d'Arc au bûcher. Intention und Rezeption, in: Musik als Text. Bericht über den Internationalen Kongress der Gesellschaft für Musikforschung, hrsg. von Tobias Plebuch, Kassel 1998, S. 544-547
Brödel, Christfried: "Le roi David" von Arthur Honegger. Beobachtungen zur Musik, in: Musik und Kirche 5 (1997), S. 318-324
Hirsbrunner, Theo: Die "Sept pièces brèves" (1920) von Arthur Honegger in ihrem musikhistorischen Umfeld, in: Die klassizistische Moderne in der Musik des 20. Jahrhunderts. Internationales Symposion der Paul Sacher Stiftung Basel 1996, hrsg. von Hermann Danuser (Veröffentlichungen der Paul Sacher Stiftung 5), Basel 1997, S. 103-113
Kupper, Hubert: Pacific. Musikalische Umsetzung eines Eisenbahnmythos bei Honegger und Hindemith, in: Festschrift Christoph-Hellmut Mahling zum 65. Geburtstag, hrsg. von Axel Beer (et al.), Tutzing 1997, S. 737-748
Klassizistische Moderne. Eine Begleitpublikation zur Konzertreihe im Rahmen der Veranstaltungen "10 Jahre Paul Sacher Stiftung", hrsg. von Felix Meyer (Veröffentlichungen der Paul Sacher Stiftung 4), Basel 1996
Hirsbrunner, Theo: Musik und Theater als nationale Selbstbestätigung. Zu Arthur Honeggers Oratorien und Bühnenwerken, in: "Und jedermann erwartet sich ein Fest". Fest, Theater, Festspiele, hrsg. von Peter Csobádi (Wort und Musik 31), Anif Salzburg 1996, S. 741-746
Fischer, Kurt von: Honeggers und Hindemiths pessimistische Sicht der Musik nach 1945, in: Über Hindemith. Aufsätze zu Werk, Ästhetik und Interpretation, hrsg. von Susanne Schaal (et al.), Mainz 1995, S. 305-313
Hirsbrunner, Theo: Die Musik in Frankreich im 20. Jahrhundert, Laaber 1995
Depaulis, Jacques: Ida Rubinstein et Arthur Honegger, in: Revue international de musique française 31 (1994), S. 73-89
Dewey, Cindy Neumayer:A performer's guide to the songs of Arthur Honegger (1892-1955), Dissertation Louisiana State University 1994
Roy, Jean:Le Groupe des Six (Solfèges), Paris 1994
Meylan, Pierre:René Morax et Arthur Honegger au Théâtre du Jorat, Genève 1993
Artikel "Honegger, Arthur (Oscar)", in: Baker's biographical dictionary of musicians (Achte Auflage), hrsg. von Nicolas Slonimsky, New York 1992, S. 794-795
Halbreich, Harry:Arthur Honegger. Un musicien dans la cité des hommes, Paris 1992
Honegger, Arthur: Ecrits, hrsg. von Calmel Huguette, Genf; Paris 1992
Roy, Jean: Ravel et Honegger, in: Cahiers Maurice Ravel 5 (1992), S. 55-60
Roy, Joseph:Le Roi David d'Arthur Honegger (Les dossiers du chant choral), Lyon 1992
Roy, Joseph:Le role et l'importance des choeurs dans les oratorios d'Arthur Honegger, Dissertation Sorbonne Paris 1990
Stirzaker, Thomas Duncan:A comparative study of selected clarinet works by Arthur Honegger, Darius Milhaud, and Francis Poulenc, Dissertation Texas University 1988
Spratt, Geoffrey K.:The music of Arthur Honegger, Cork 1987
Lichtenhahn, Ernst: Zwei Hauptwerke des Schweizer Musiktheaters: Honeggers "Jeanne d'Arc" und Burkhards "Schwarze Spinne", in: Festschrift Paul Sacher, Basel 1986, S. 20-44
Spratt, Geoffrey K.:Catalogue des oeuvres d'Arthur Honegger, Genf 1986
Voss, Hans Dieter:Arthur Honegger "Le Roi David". Ein Beitrag zur Geschichte des Oratoriums im 20. Jahrhundert (Beiträge zur Musikforschung 11), München 1983
Muggler, Fritz: Artikel "Honegger, Arthur", in: The New Grove dictionary of music and musicians (Erste Auflage), Bd. 8, hrsg. von Stanley Sadie, London 1980, S. 679-681
Spratt, Geoffrey K.:A critical study of the complete works of Arthur Honegger with particular reference to his dramatic works, Dissertation University of Bristol 1979
Fischer, Kurt von:Arthur Honegger (Neujahrsblatt der Allgemeinen Musikgesellschaft Zürich 162), Zürich 1978
Maillard, Jean:Les symphonies d'Arthur Honegger (Au-delà des notes 4), Paris 1974
Meylan, Pierre:Arthur Honegger. Humanitäre Botschaft der Musik (Wirkung und Gestalt 8), Frauenfeld 1970
Feschotte, Jacques:Arthur Honegger, Paris 1966
Guilbert, Yves:Arthur Honegger, Paris 1959
Gauthier, André:Arthur Honegger, Lyon 1957
Landowski, Marcel:Arthur Honegger (Solfèges 7), Paris 1957
Tappolet, Willy: Artikel "Honegger, Arthur", in: Die Musik in Geschichte und Gegenwart (Erste Auflage), Bd. 6, hrsg. von Friedrich Blume, Kassel Basel 1957, Sp. 684-691
Gagnebin, Henri: Artikel "Arthur Honegger", in: 40 Schweizer Komponisten der Gegenwart, hrsg. von Schweizerischer Tonkünstlerverein, Amriswil 1956, S. 73-84
Matter, Jean:Arthur Honegger ou la quête de joie, Lausanne; Paris 1956
Tappolet, Willy:Arthur Honegger, Zürich 1954
Delannoy, Marcel:Arthur Honegger, Paris 1953
Rostand, Claude: Arthur Honegger - ein beispielhafter Humanist, in: Melos 2 (1952), S. 36-40
Schuh, Willi: Arthur Honegger, in: Schweizer Musik der Gegenwart. Kritiken - Essays - Ansprachen (Kritiken und Essays 3), Zürich 1948, S. 153-170
Bruyr, José:Arthur Honegger et son oeuvre, Paris 1947