{"id":29738,"date":"2018-12-04T14:13:05","date_gmt":"2018-12-04T13:13:05","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=29738"},"modified":"2023-07-19T14:38:49","modified_gmt":"2023-07-19T12:38:49","slug":"rene-gerber-compositeur-neuchatelois","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/dossiers\/2018\/12\/rene-gerber-compositeur-neuchatelois","title":{"rendered":"Ren\u00e9 Gerber, Neuch\u00e2tel composer"},"content":{"rendered":"
\"\"
Ren\u00e9 Gerber. Photo: DR<\/figcaption><\/figure>\n

Ren\u00e9 Gerber was born in Travers on June 29, 1908, and moved to Peseux in 1919, where his father, a native of Emmental, worked as a cabinetmaker. After obtaining a scientific baccalaureate in Neuch\u00e2tel, he entered the Faculty of Medicine in Zurich, where his uncle, a dentist, intended him to resume his practice. But his mind was elsewhere. The dental drill, concrete music before its time, hardly moved him at all. Musik f\u00fcr Orchester<\/em> by Volkmar Andreae, which he heard at its premiere in 1929 at Zurich's Tonhalle, and whose concerts he regularly attended, while already composing (his 1st Concerto for harp and orchestra dates from 1931). He definitively chose music, entering the Zurich Conservatory where Volkmar Andreae taught him composition and Paul M\u00fcller counterpoint, and, in just 3 years, obtained his diploma in 1933.<\/p>\n

Attracted more by the French spirit than by Germanic post-romanticism, he moved to Paris in 1934 to follow the rigorous and severe teaching of Paul Dukas and Nadia Boulanger at the Ecole Normale. The latter demanded that she receive regular harmony work from her pupils during the vacations, which she returned with her corrections.<\/p>\n

At the same time, he trained with Robert Siohan, composer, choral conductor at the Op\u00e9ra and teacher at the Conservatoire, and perfected his knowledge of wind instruments with Pierre Dupont, lieutenant-colonel, conductor of the Musique de la Garde R\u00e9publicaine (who transcribed Ravel's Bol\u00e9ro for wind band, performed in the presence of the composer). That same year, he married Ruth Matthey-Doret, a native of La Br\u00e9vine (Neuch\u00e2tel), a young pianist who, while her husband devoted himself to the science of composition, took lessons from Alfred Cortot and Marie Panth\u00e8s. The couple remained close friends with the latter - a famous concert pianist of the time and 1st prizewinner at the Paris Conservatoire at the age of 14 - until her death in 1955.<\/p>\n

\"\"
Marie Panth\u00e8s in 1941. Photo : DR<\/figcaption><\/figure>\n

Ren\u00e9 Gerber gives a moving account of his meeting with Maurice Ravel:
\n\"In Paris in 1934, I went to visit Ravel, who was living with his brother Edouard in Levallois-Perret. He received me with a cat in his arms and invited me to follow him to his room. His speech was labored. At one point, he told me that he hadn't yet written any real Ravelian works! To which I replied that so far he had only left masterpieces. No, no,\" he continued, \"but during my inactivity, I gathered within myself all the elements of my style, the style that will be that of my later works. From then on, he composed nothing until his death on December 28, 1937.<\/p>\n

From 1940 to 1947, he taught music at Neuch\u00e2tel's Coll\u00e8ge latin, and in the latter year became director of the city's Conservatoire de Musique, a post he held until 1951.
\nAround this time, with his friend Henri Schenk, he founded the Galerie Pro Arte, first in Peseux and then, from 1959, in Bevaix, where he lived until the end of his life.<\/p>\n

\"\"
Ren\u00e9 Gerber in his Bevaix2 gallery. Photo: DR<\/figcaption><\/figure>\n

In addition to the pleasure of seeing many paintings and meeting many painters, including the late Fran\u00e7ois Gall (1912-1987), the gallery's exhibitions, some of which were devoted to Neuch\u00e2tel artists, gave him the material independence he needed to devote himself to composition. For it was a constant in Ren\u00e9 Gerber's life: he never pulled any punches to gain any advantage, distinction or facility whatsoever. In this attitude and in his work as a composer, he was greatly helped by the understanding and unfailing support of his wife Ruth, who became a piano teacher with many pupils.<\/p>\n

In addition to creating music, he teaches composition and writes a book on the subject. Treatise on counterpoint<\/em>Counterpoint, properly understood, is the source of all discipline and liberation in musical writing\". The Lausanne composer Julien-Fran\u00e7ois Zbinden (now 101!), a dear friend, is his oldest pupil. The benevolent rigor with which he approached any musical work that was not his own encouraged and stimulated his pupils, while at the same time leading him to appreciate many scores by contemporary composers, including in particular those by his friend Richard Flury, who died before him.<\/p>\n

\n
\"\"
Ren\u00e9 Gerber and Julien-Fran\u00e7ois Zbinden in 1999 . Photo : DR<\/figcaption><\/figure>\n

In 1996, he was awarded the Prix de l'Institut neuch\u00e2telois. In 2003, he published his \"artistic testament\" Les Exigences de l'art, the culmination of 60 years of reflection on art.<\/p>\n

His work<\/strong><\/h3>\n

Ren\u00e9 Gerber's output spans 70 years (1931-2001) and covers all genres: chamber music in the form of quartets and sonatas for almost all orchestral instruments; concertos for violin, piano, clarinet, harp, bassoon, English horn and trumpet; music for large orchestra; vocal works, including two operas. At the time of his death, on November 21, 2006, the catalog of his works comprised 233 pieces, many of them published (Pizzicato Verlag Helvetia and Lausanne-Musique Disques VDE-GALLO).<\/p>\n

His writing, both tonal and modal with borrowings from polytonality, is in the French tradition so wonderfully represented by Debussy, Dukas, Ravel and Poulenc. The melodic themes are short and the discourse limpid and without overload, giving each instrument or group of instruments a specific role, often as soloist within the orchestra. This characteristic can no doubt be explained by the composer's \"monophonic\" perception, as he heard with only one ear (on the left side, he had no inner ear).<\/p>\n

The aesthetics of his music fall into two categories. The first obeys an inner impulse: themes emerge and are then developed and shaped: this is a concerto, a sonata or a quartet. The second is based on an extramusical source: a landscape, an event, a character conditions the composition, giving it a particular aspect and a title: for example, thehe Moulin de la Galette, the Ecole de Fontainebleau, the Hours of France<\/em>. For, as these titles suggest, he loves France, its culture and its terroir. A pilgrimage to a Ruelle de Saint-Sorlin<\/em> (Ain), which he had known since his youth (his uncle was a printer in Lagnieu), and the name was given to a piano piece. He is considered \"the most French of Swiss composers\".<\/p>\n

Created in 1990 by the composer and his wife, the Ren\u00e9 Gerber Foundation, thanks to the dedication and skill of Claude Delley, artistic director, and Olivier Buttex, director of the VDE-GALLO record label, has produced 21 CDs to date, while organizing or supporting numerous concerts in Switzerland and abroad.<\/p>\n

A professional musician with a passion for all the arts, of which he possessed an encyclopedic knowledge, Ren\u00e9 Gerber tried his hand at figurative painting under the pseudonym of Martel, and, keen on prosody, wrote 150 Sonnets under the pseudonym of Ren\u00e9 Bourgogne.<\/p>\n

\"\"
Martel: still life. Photo : DR<\/figcaption><\/figure>\n

For over 30 years, my wife and I have enjoyed a fruitful friendship with him, cultivated through travels and numerous evenings of lively discussion. The man is full of humor, and his quick wit never misses an opportunity to shine through. At an after-concert performance of his works, for example, he commented on his wife's receipt of a large bouquet of flowers: \"What a sheaf without the r (air)! A pamphleteer well-versed in the practice of the quatrain, he mocks certain egos or castigates the indigence of minimalist art:<\/p>\n

Distress in paradise
\n<\/strong>Brothers in religion, pray and groan!
\nfor the Most High, despite his infinite wisdom
\nis currently struck by megalomania:
\nhe thinks he's nothing less than Pierre Boulez!\u00a0<\/em><\/p>\n

Avant-garde
\n<\/strong>I never went to art school,
\nignores El Greco, Shakespeare and Mozart...
\nbut see my genius as my hand places
\na black dot in the middle of a white surface!<\/em><\/p>\n

The Requirements of Art<\/strong><\/h3>\n

Ren\u00e9 Gerber's title sums up his conception of art. Some of the book's fundamentals are reported below.<\/p>\n

Art is \"indefinable in its essence, its affective and imaginative source\". At the same time, however, it is \"definable in its realization\". As a result, a finished work requires from its creator, in addition to inspiration, a skill, a technique and a critical sense comparable to those required by science, and is therefore objectively analyzable.<\/p>\n

The creative imagination, whatever the discipline, however fertile it may be, allows neither total freedom nor gratuitousness: \"Art is not subject to any rules, the work of art is subject to a number of rules\". A work only becomes a masterpiece if it satisfies four conditions: style, form, individuality and density. As form, for example, guarantees the unity of the work, it follows that random or informal music cannot claim to be a work of art.<\/p>\n

In the art world, there are two kinds of protagonists: the creators, whether brilliant or mediocre, and the critics, who rarely create, demolish or praise, depending on their competence and sincerity. But often, a word from a great master is worth more than the prose of the critics. This is Leonardo da Vinci: \"Art lives by constraint and dies by freedom\", or Claude Debussy: \"How much a work must be a masterpiece to withstand so many interpretations\".
\nA widespread confusion is denounced: non-figurative painting, as it should be called, cannot be abstract, because abstraction, the artist's supreme faculty, can only be exercised on a figurative subject.<\/p>\n

The many \"ism\" movements of the 20th century (Fauvism, Cubism, Futurism, Simultanism, Suprematism, Dadaism, Surrealism, Purism, Constructivism...) seek only to make art dependent on often reductive doctrines, while associations such as \"painting full of musicality\" or \"colorful symphony\" are gratuitous.<\/p>\n

What are we to make of the \"religious war\" between composers of tonal music, attached to the principle of the tonic and dominant, and the proponents of atonal, twelve-tone, electroacoustic or concrete music, some of whom go so far as to sweep away the traditional heritage? Are the two worlds irreconcilable? Ren\u00e9 Gerber gives an original answer by distinguishing two sound arts. The first simply represents music, a tonal and therefore natural art, \"bound by a discipline, subject to a syntax\" and which finds its form within itself. The second is atonal, with no recourse to classical instruments, and is not bound by any grammar. \"Informal in essence, it is only viable in association with another art form, such as cinema, which will give it form and meaning. \"The great misconception of the followers of the second art is that they believe themselves to be the continuators of music, whose progression they see themselves as ensuring.<\/p>\n

Through a detailed and systematic analysis of the artistic phenomenon, at times severe, at times humorous, always imbued with great rigor, the author demonstrates that one can be both creator and critic.<\/p>\n

Jean-Jacques Perrenoud
\n<\/strong>... is Chairman of the Ren\u00e9 Gerber Foundation and a former professor at Geneva's Faculty of Medicine.<\/em><\/p>\n

To find out more<\/strong><\/h3>\n

CD, catalog of works, scores, books by Ren\u00e9 Gerber:
\nClaude Delley, artistic director of the foundation, chemin du Loclat 8, 2013 Colombier: cl.mt.delley@gmail.com<\/a><\/p>\n

VDE-GALLO website for discography:
\n<\/strong>vdegallo.com\/en\/vde_composers\/rene-gerber\/<\/a><\/p>\n

Website Julien-Fran\u00e7ois Zbinden:
\n<\/strong>www.jfzbinden.ch\/<\/a><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

110 years ago, Ren\u00e9 Gerber was born, a composer and director of the Neuch\u00e2tel Conservatory, but also an art lover - he founded a gallery. 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