Jongen’s piano music spans his
entire creative life, although most of it belongs to his mature years. One
of his first acknowledged piano pieces, Sérénade Op.19 dates
from 1901. From then on, he composed regularly for the piano throughout his
long and busy career, from short pieces to more substantial sets, such as Suite
en forme de sonate Op.60 (1918) and 24 Petits préludes Op.116 (1941),
both available in Volume 1 (ADW 7475/6 reviewed here some time ago) as well
as one of his greatest masterpieces Treize Préludes Op.69 (1922)
and Dix Pièces Op.96 (1932), both recorded in Volume 2 under
review. His sizeable and varied piano output allows for a fair appreciation
of his musical progress from the influence of Franck and his followers to his
more personal blend of Impressionism under the shadow of (but not overshadowed
by) Debussy and Ravel, whom he sincerely admired. From this point of view,
the second volume of piano music from Pavane is somewhat more revealing, since
it includes two fairly early pieces, Sérénade Op.19 (1901)
still somewhat indebted to Fauré and Sarabande dans le style ancien (1902)
nodding to Ravel’s Pavane pour une Infante défunte. However,
by that time, i.e. the early years of the 20th Century, it was
clear that Jongen was freeing himself from Franck’s heritage and moving into other
directions, viz. France, Debussy and Ravel. As can be seen from the above details,
it is clear that Jongen composed quite a number of piano pieces, both small
and large; and it would thus be idle to claim that each of them is a masterpiece.
Nevertheless, what comes clearly through all these pieces is the remarkable
stylistic consistency, and the fact that Jongen’s music is entirely and unmistakably
personal without the slightest blunt imitation of his models’ music.
It would be idle to go into details
about all these pieces. This second volume, however, includes several substantial
pieces such as Deux Etudes de concert Op.65, the two Ballades (Op.105
and Op.119) and, what may be rightly regarded as his masterpiece for the piano, Treize
Préludes Op.69. It would be tempting to compare Jongen’s Preludes to
Debussy’s; but – and it is a big But – unlike Debussy, Jongen drew his ideas
not from nature, but from emotions and feelings. From this point of view, too, Treize
Préludes may be one of his most personal, intimate pieces, in which
the emotional expressive range is broad indeed. Jongen alternates the various
climates to achieve the fullest expression : Inquiétude... Nostalgique...
Pour danser... Tourments... Eau... Tranquille... Appassionato... Il était une fois...
Interlude... Angoisse... Giovinezza... Papillons noirs... Tendresse... Air
de fête...; note the three dots after each title, another nod towards Debussy
who placed the title at the end of each piece, preceded by three dots. Some
of the Preludes are tense, anguished, troubled; but, typically enough (I think),
relief is miraculously achieved in the twelfth prelude Tendresse... ,
and the whole set is rounded-off by a joyfully bustling Air de fête.
Similarly, both Ballades may
be considered a homage to Chopin, but the music is again entirely Jongen’s
own. These pieces are demanding technically but always highly rewarding to
play and to listen
to as well; and so are Deux Etudes de concert Op.65.
Most other pieces here are short
and speak for themselves. The music is always superbly crafted - he was a fine
pianist - attractive and enjoyable. Some of the shorter pieces might be regarded
as trifles, but they are always wonderfully done, with much refinement and
subtlety, which does not exclude humour either, as in Mazurka Op.126bis or
in the two pieces of Opus 76 (Mazurka and Napolitania).
Another set, also well worth considering,
is Dix Pièces pour le piano seul Op.96 (1932), actually a magnificent
substantial suite of short character sketches of great charm and variety ending
with a beautiful, mystical Hymne védique. Jongen scored the set for
chamber orchestra in 1942, and other pieces such as Bourrée dans le style
ancien Op.123, Sarabande triste Op.58 (composed during
World War I when Jongen had settled in England) and Petite Suite Op.75 (in
Volume 1) also exist in orchestral guise.
Pavane had the
good idea to complete their exhaustive survey of Jongen’s piano music by recording
his pieces for piano duet. With the exception of Fantaisie sur deux Noëls
populaires wallons
Op.24 - once one of his most popular works and originally for orchestra
available on Cyprès CYP 1634 reviewed here - Jongen’s pieces for piano duet
are generally lighter in mood. In these delightful miniatures, the composer
gives way to his feelings as a father (in Pages intimes Op.55 dedicated
to his children and also existing in orchestral guise) and as a grandfather
(in Jeux d’Enfants Op.120 dedicated to his grandchildren). Delightful
vignettes indeed, blending tenderness and jollity, dreaminess and humour in
much the same way as in Walton’s Music for Children. Both sets
are reasonably well known, whereas the lovely triptych Cocass-March,
Petite Berceuse et Divertissement Op.129 (1950) remained
largely ignored until this recording. This late piece is another little gem
comparing most favourably with Pages intimes and Jeux d’Enfants,
which makes its neglect all the more difficult to understand. The very last
piece is Volume 2, Intermezzo-piccolo Op.136bis, – appropriately
enough – a final homage to Ravel in the form of a ravishing waltz fantasy.
Diane Andersen
plays beautifully throughout, and she is superbly partnered by André De Groote in the pieces
for piano duet. This second volume is a pure joy from first to last, and a
must for all the admirers of Jongen’s music. All who respond to Debussy’s,
Ravel’s or Ireland’s piano music will find plenty to enjoy here.
Hubert Culot
Joseph Jongen – Select discography
Piano music – Volume 1 – Pavane
ADW 7475/6 – see review
String Quartets No.1 and No.2 – Pavane
ADW 7483
Chamber music for cello and piano – Phaedra
92030 – see review
Piano Trios Op.10 and Op.30 – Phaedra
92041 – see review
Comala Op.14 – Musique en Wallonie
MEW 0214 – see review
Orchestral songs, Triptyque Op.103 – Cyprès
CYP 1635 –see review
Cello Concerto Op.18, Impressions
d’Ardennes Op.44 – Cyprès CYP 1634 – see review
Piano Quartet Op.23, Piano Trio
Op.30 – Cyprès 1638 – see review
Chamber music for flute – Cyprès
1632 – see review
Alleluja Op.112, Hymn Op.78 (both
organ and orchestra) – Guild GMCD 7182 – see review
Symphonie Concertante Op.81 – Guild
GMCD 7195 – see review
Chamber music for flute – Naxos
8.557111
Violin Sonatas No.1 and No.2 – Talent
DOM 2910 57
Diane Andersen (piano); Diane
Andersen,
André De Groote (piano duet)a 
