Debussy’s Bilitis
Songs were originally for the
stage, to accompany a recitation
of the text. The original scoring
included two flutes, and the work
was composed in 1897-8. Debussy
later re-scored the melodic material
to create the Six Epigraphes
Antiques for two pianos. This
arrangement returns the melody lines
to the flutes, and includes very
sensitive scoring for the strings.
The arrangement is entirely natural
and works extremely well. The playing
here is similarly excellent; Chapron’s
flute playing is sensitive, beautifully
controlled and uses a vast array
of tone colours. He has a natural
instinct for the shaping of the
phrases and is clearly passionate
about the music. He is accompanied
by three highly accomplished string
players, who create atmosphere where
required, bringing solo lines out
of the texture and then returning
to an accompanying role. The sense
of ensemble is always excellent
and the quality is consistently
high.
Roussel’s Trio
begins with a spirited Allegro
Grazioso, which is more lighthearted
in style than the Debussy but retains
a harmonic complexity which is evidently
heavily influenced by Roussel’s
deep admiration for the older composer.
Commissioned by Elisabeth Sprague-Coolidge,
the work is densely textured and,
heard here alongside Debussy, it
is clear that Roussel was also an
enormously talented composer. The
central slow movement gives space
for expression, which the performers
achieve with ease. The final movement
is a quirky rondo, full of characterful
motivic ideas. This is a charming
piece which has much to offer.
The Deux Poèmes
de Ronsard were composed in
1924 to celebrate the 400th
Anniversary of Ronsard’s birth.
This duo for flute and soprano combines
two individual solo lines to create
a whole; the lines take on equal
importance, and balance each other
well. The performance here possesses
an enticing fluidity and flexibility,
and is beautifully expressive. Chapron’s
flute playing is truly captivating,
and combines well with Patrois’s
versatile voice. Elpénor
is a short theatrical piece
(‘radiophonic poem’), which tells
the story of Ulysses on the island
of Aea. Conceived for the radio,
it was broadcast in 1947, using
previously composed works by Roussel,
on account of his illness at the
time the work was initially put
together. It is a beautiful piece,
which, like many of Roussel’s compositions,
is relatively short.
The last work on
this disc is Chapron’s arrangement
of the second book of Debussy’s
Fêtes Galantes for
soprano and flute quartet. Another
impressive production, the music
suits the forces well, and Patrois’s
wonderful voice gives a richly luxurious
performance.
Carla Rees
Quatuor Dejean (Bernard Chapron (flute);
Annie Cormery (violin); Françoise
Renard (viola); David Harlé (cello));
Mireille Patrois (soprano); Philippe Puvereau
(violin) 
