Alexis de CASTILLON (1838-1873)
String Quartet, Op. 3/1 (1867) [33:31]
Camille SAINT-SAËNS (1835-1921)
String Quartet No. 1 in E minor, Op. 112 (1899) [32:34]
Quatuor de Chartres (Patrice Legrand (violin); Robert Aribaud (violin);
Marc-Antoine Chomet (viola); Philippe Pennanguer (cello))
rec. April 2011, Château de Saint-Simon, La Ferté-Vidame,
Eure-et-Loir, France
BNL 112965 [66:05]
The Quatuor de Chartres was formed in 1984. Although I have never
come across them previously they have released a number of CDs. On this 2011
recording their programme is from the pens of French composers Alexis de
Castillon and Camille Saint-Saëns who were close contemporaries.
The first work is de Castillon’s String Quartet, Op. 3/1. Born
in Chartres, Castillon was from an aristocratic Languedoc family. He gave up
a military career to concentrate on music and became a student at the
Conservatoire de Paris. De Castillon in comparison to his compatriot
Saint-Saëns wrote only a relatively small number of works including a
handful of chamber scores. Composed in 1867, the three movement String
Quartet was the composer’s first attempt at writing for strings.
In the accompanying notes the author writes that the music “shows
de Castillon’s real gift of inventiveness.” The twelve
minute long first movement is densely written with a tiresome number of
tempo changes. The intensely lyrical Adagio moto lento is pretty
unmemorable and at almost fifteen minutes certainly outstayed its welcome.
The Finale is a rather dreary affair despite its ethereal quality and
an interesting violin cadenza. It’s certainly no undiscovered gem. I
was, however, glad to have the opportunity to hear this rarely played
quartet. No matter how well the Quatuor de Chartres play they cannot make
music better than it is.
By comparison Saint-Saëns’ String Quartets No. 1 in E
minor and No. 2 in G major are refined and inventive. That said,
they need several plays before revealing their charms. The Saint-Saëns
four movement String Quartet No. 1 from 1899 is a product of the
composer’s full maturity, written when he was 64. The pastoral mood of
the opening Allegro could have emanated from the pens of Howells or
Delius. Serving as a Scherzo the second movement Molto allegro
quasi presto has a fresh outdoor feel. The intense and heartfelt
Adagio is melancholic with the first violin noticeably prominent.
Taking the form of a Rondo the Finale marked Allegro non
troppo has a squally exuberance with the conclusion particularly ardent
and forthright.
Quatuor de Chartres comes across as well prepared and thoughtful.
They perform this pair of French works with alertness and palpable
sensitivity. They have been recorded closely by the sound engineers, with
the cello standing out a touch too much for my liking. This is particularly
noticeable in the louder passages.
There are three current accounts of the Saint-Saëns String
Quartets No.1 andNo.2 that I greatly admire. They provide very
fierce competition. The recording by the Quatuor Viotti recorded in 1984 is
the one to have for their high calibre playing and for their masterful
penetration to the very heart of this music. They’re on Warner
Classics Apex 2564 61426-2. I also remain impressed with the expressive and
well recorded interpretations by the Medici String Quartet from 1997 at Bad
Arolsen on Koch Schwann 3-6484-2. Recorded in 2009 at the Wittem Monastery
Library, Netherlands the Fine Arts Quartet is in imposing form. Their
dedicated and passionate accounts are on Naxos 8.572454.
Michael Cookson
These readings are well prepared and thoughtful ….performed with alertness and palpable sensitivity.
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