On paper this looks like the ideal Debussy
chamber collection; all the important works are there, and as
far as I know this is the first time they have all been gathered
together on one disc. Of course there are numerous versions
of individual pieces, but the closest to this collection is
a Chandos disc by the Athena Ensemble, which omits the string
quartet in favour of two much shorter works (both for clarinet
and piano), the Première Rhapsody and Petite
Pièce. This makes for a less generous playing time,
and is an analogue recording (though very good).
So in many ways the present recording has the
field to itself, as we not only get the best possible overview
of Debussy’s work in the chamber field (early and late), but
wonderfully idiomatic performances from members of the talented
Kuijken dynasty, on instruments of the period. Don’t let the
last few words put you off; I’m not a great fan of the ‘authentic’
lobby, but in this case you would be hard put to even guess
that these were mostly instruments of the composer’s time. Probably
the most obvious is the Erard piano used in the Cello
and Violin Sonatas; this dates from 1894, and was restored
in 1996. I know from personal experience that these are wonderfully
transparent, delicately voiced instruments that are perfect
for this music, lacking obvious weight and sonority compared
with a modern Steinway, but making up for it in so many other,
more subtle ways. Listen to the opening flourish of the Cello
Sonata and it’s obvious there is something different but
not unpleasant or ‘clangy’ about the tonal quality. The lighter
action also makes tricky passages come alive for the pianist;
try the ‘animando-agitato’ passage (around 2’05")
and hear the beautifully gauged textures that Piet Kuijken is
able to produce. He is partnered very ably by Wieland Kuijken;
indeed, one gets the distinct feeling throughout the disc that
this family have played these pieces many times at home for
sheer pleasure.
The String Quartet in G minor
of 1893 was Debussy’s first real masterpiece in the chamber
medium, and also his farewell to conventional key signatures.
It also boasts the most formidable competition for the Kuijkens,
with at least two dozen versions available, most of them coupled
(logically enough) with the Ravel Quartet. My own long-standing
favourite is the Alban Berg Quartet (on EMI), and at first I
thought this latest performance lacked their rhythmic drive
and energy. However, the timings for each movement are remarkably
similar on both versions, and repeated listening reveals the
Kuijkens’ knack of beginning in a fairly relaxed fashion and
gradually ‘screwing up’ the tension as Debussy develops his
ideas. Listen to the start of the development section of the
first movement (around 3’ 05") to hear what I mean. Without
appearing to speed up, the music gathers an irresistible momentum
that propels it to its conclusion. Very satisfying.
Syrinx, for solo flute, is evocatively
performed by Barthold Kuijken on an Auguste Bonneville instrument
of 1910. The tone is plangent, with a slight edge that at first
seems to miss that ‘hazy’, impressionistic quality we have come
to expect. However, this is presumably the sort of sound Debussy
had in mind when conceiving the piece, and, again, repeated
listening reveals a subtly different ‘take’ on a familiar piece.
The same flute is used in the ethereal Sonata
for Flute, Viola and Harp (the latter interestingly also
made by Erard) of 1915, one of Debussy’s most inspired creations.
The ‘other-worldly’ quality of much of the piece is atmospherically
captured by the Kuijkens, especially the gorgeous, almost improvisatory,
opening pastorale movement. None of the nuances of this
often elusive music are missed and the end result is very compelling.
The most famous member of the family, Sigiswald,
plays the marvellous Violin Sonata, and again the strong
competition is safely silenced. The rhythmic pointing of the
très animé finale is brilliantly captured,
with the balance between the delicately voiced Erard and the
1899 Bovis violin admirably caught. Debussy was already mortally
ill when the sonata was written, and the bleakness and despair
of much of the writing in this wartime piece has not escaped
these intelligent musicians.
The recording is slightly on the dry side and
is fairly closely balanced, though not distractingly so. The
packaging is exemplary, with beautiful reproductions of contemporary
art, together with a well-annotated booklet in four languages.
Even if you have alternatives, this is well
worth seeking out.
Tony Haywood
Sigiswald Kuijken;
Veronica Kuijken; Sara Kuijken; Wieland Kuijken; 