On the occasion
of the centenary, Lyrinx have re-issued a number of their
earlier recordings of Jolivet’s music. They have added some
hitherto unpublished tapes, such as this performance of
the Violin Concerto; Jolivet’s only major
concerto left unrecorded over the years. There’s also the
long-forgotten Violin Sonata (1932). Let it
be said straightaway: this release is a must for
all admirers of the composer.
The Violin
Sonata composed in 1932 is one of the earliest major
works and curiously enough has remained unperformed until
it was found in the composer’s papers several years after
his death. In fact, the first movement was performed in
1933, but the first complete performance was by Erlih in
October 1989. It was not mentioned in Hilda Jolivet’s book
(Avec André Jolivet, Flammarion,1978), but is now
published and features in the catalogue available on www.jolivet.asso.fr
- a very well-made site well worth more than the occasional
visit. It is a substantial work in three movements, and
one already displaying many features that have since been
regarded as typical Jolivet fingerprints. As is the case
with a number of early major works by Jolivet (the piano
suite Mana and the String Trio
for example), Bartók’s model is in evidence. This is not
at the expense of Jolivet’s personal voice already apparent
at that time. The outer movements brim with characteristic
muscular writing, sometimes of considerably taxing virtuosity.
The ecstatic slow movement draws the listener into the same
meditative, almost mystical atmosphere, that will often
characterise his slow movements in later works. Listen for
example to similar effects in. the slow movements of the
Second Trumpet Concerto, the First Cello Concerto or the
Concerto for ondes Martenot.
Incantation
“Pour que l’image devienne symbôle” (1937) was originally
written for flute and is often recorded with Cinq
Incantations (1936). It also exists in a version
for violin. This is the edition we hear. The much later
Suite rhapsodique for solo violin is one of
the several suites for solo instruments: Ascèses
for clarinet, Eglogues for viola and Suite
en concert for cello. These are all major pieces
from the composer’s full maturity. The model for the Suite
rhapsodique as well as for the other suites is,
no doubt, Bartók’s masterly Sonata for Solo Violin;
but once again the music is entirely Jolivet’s own. The
Suite rhapsodique may be more overtly melodic
and it sometimes sounds oriental (it was written after a
trip to Israel). Vintage Jolivet at his most accessible.
The substantial
Violin Concerto (1972) is Jolivet’s only concerto
that has never appeared on disc before. Neither has it been
much performed, let alone recorded, since its première by
Luben Yordanof and the Orchestre de Paris conducted by Zdenek
Maçal. Here it is, at long last, and it has been worth the
wait. It is a substantial large-scale work. It might even
be Jolivet’s longest concerto. Written when the composer’s
skills were at their highest, it does not pale when compared
to the somewhat better-known cello concertos. The Violin
Concerto is in three substantial movements: an impassioned
opening movement, a tripartite central Largo (actually slow
meditative outer sections framing a furious Scherzo) and
a grand, powerfully energetic, rousing Finale. There is
no doubt about it: Jolivet’s Violin Concerto is a masterpiece,
and one “hidden” from us for too many long years. The soloist’s
part is taxing; but once its technical difficulties have
been mastered, the music – and thus the whole piece – is
immensely rewarding. Much of Jolivet’s best music is difficult;
but, no matter how complex it may be, it communicates powerfully
thanks to its great expressive strength and thanks to the
composer’s honesty and generosity. This is music that takes
one by the scruff of the neck and will not let you go.
Devy Erlih,
a long-time champion, plays superbly throughout, with assurance
and conviction, bringing out the many facets of Jolivet’s
music. The recordings from various sources are inevitably
of varying quality, but are always quite satisfactory. The
recording of the Sonata, however, is not particularly flattering
(it sounds as if recorded out doors), but Erlih’s committed
playing does much more than compensate. Curiously enough,
the sound of the live recording of the Violin Concerto is
remarkably fine with very little in the way of unwanted
noises. The recorded performances of Incantation
and Suite rhapsodique were originally released
in a double-LP set (Lyrinx 7707-008/9) published in the
late 1970s and sound satisfactory.
Let’s not forget
there is another Lyrinx CD of Jolivet chamber works on LYR
244.
This is a very
important release and a must for all Jolivet fans. I hope
that it will draw violinists’ attention to a long-neglected
masterpiece. Lyrinx are to be wholeheartedly congratulated
for their untiring championing of Jolivet’s music. I hope
now that they will soon re-issue their recordings of the
three symphonies.
Hubert
Culot
Devy Erlih (violin);
Manabu Sekiya (piano)a; Orchestre National, Marius Constantb
