Jongen’s ambitious
Piano Quartet Op.23 is
one of the works that he had to deliver
after being awarded the Rome Prize in
1897 for his cantata Comala Op.14
(Musique en Wallonie MEW 0214, reviewed
here some time ago). This substantial
piece (it plays for some fifty minutes)
belongs to Jongen’s early maturity;
and, as may be expected, is still much
indebted to Franck and d’Indy while
already slightly influenced by Fauré
and Debussy. The composer displays his
remarkable formal mastery as well as
his rich melodic fund, although one
must admit that the piece is not without
longueurs. The Piano Quartet,
however, shows some considerable progress
when compared, say, to the equally ambitious
First String Quartet Op.3
(1894) that may be rather rambling at
times and revealing very little of the
mature Jongen. One of the most immediately
striking characteristics of this work
is Jongen’s formal mastery and ability
to write on a large scale, as well as
his idiomatic instrumental writing.
The Piano Quartet is in four movements
(Large-Animé, Assez vite,
Pas trop lent and Assez animé)
of which the second, a short Scherzo
redolent of some rustic dance (a typical
Jongen trait, this) is the one that
most clearly points towards Jongen’s
mature style. After a solemn and weighty
introduction, the cello launches the
Animé section of the first
movement with a gorgeously lyrical theme
offset by a calmer second subject. The
rest of the movement, roughly in sonata
form, generously develops both themes.
The imposing first movement is followed
by the lovely Scherzo the trio sections
of which hark back at the second subject
of the first movement. The main theme
of the beautifully lyrical slow movement,
first stated by the viola, is actually
a variant of the main theme of the Scherzo.
Significantly enough, I think, Jongen’s
marking Pas trop lent ("Not
too slow") is a clear indication
that the music’s lyrical mood should
not be overdone and that the slow movement
should be played as a long song without
words, warmly expansive but without
sentimentality. The sunny mood of the
fourth movement ends the work in exulting
manner. In spite of some longueurs,
thus, the Piano Quartet is a splendid
piece of music in its own right.
The slightly later
Piano Trio Op.30 is for
the somewhat unusual combination of
violin, viola and piano. It was written
for his friends and colleagues, the
violinist Emile Chaumont and the violist
Oscar Englebert, who gave the first
performance with the composer at the
piano. This attractive work clearly
belongs to Jongen’s mature years; for,
if Franck’s shadow may still be looming
to some extent, Fauré and Debussy
are now his models. On the whole, too,
the piece is much more compact than
some of Jongen’s earlier works. While
still tightly argued, the music displays
a greater formal freedom and unreins
Jongen’s imagination. Now, all the ingredients
of Jongen’s mature style are on full
display (a subtle blend of modal and
chromatic writing). Time will simply
bring in some more refinement and formal
concision. The Piano Trio is clearly
one of Jongen’s earliest masterpieces,
that – with the Piano Quartet – was
a key work in the repertoire of the
Quatuor Belge de Londres in which the
viola part was played by Lionel Tertis.
2003 (Jongen’s Year
in Belgium celebrating the fiftieth
anniversary of his death) was a glorious
year for all his admirers; and the present
release coupling two magnificent and
substantial pieces in immaculate performances
and superb recording – as well as all
the other that I have been to review
so far – is another important milestone
and a magnificent addition to this composer’s
discography. Jongen? Yes, the Symphonie
Concertante, but what else? Now,
you know.
Hubert Culot
Ensemble Joseph Jongen (Diane Andersen, piano;
Eliot Lawson, violin; Jacques Dupriez, viola;
Mark Drobinsky, cello)