Paul BAZELAIRE (1886–1958)
Complete works for cello and piano
Deux pièces; Op. 109 [4:18]
Burlesque, Op. 110 [7:49]
Cache-cache, Op. 111 [1:13]
Aria, Op. 112 [6:36]
Deux images lointaines,, Op. 113 [6:04]
Suite française sur des airs populaires,, Op. 114 [7:46]
Berceuse chinoise, Op. 115 [2:58]
Rapsodie dans le style russe, Op. 117 [7:51]
Funérailles, Op. 120 [4:14]
Suite italienne,, Op. 122 (16-18) [7:52]
Prélude en ut mineur, Op. 123 [2:55]
Morceau de concours (Prélude – Sicilienne – Final), Op.
124 [5:59]
Variations sur une chanson naïve, Op. 125 [4:14]
1er concertino, Op. 126 [3:36]
2ème concertino (En forme de variations), Op. 127 [4:54]
Morten Zeuthen (cello), Daniel Blumenthal (piano)
rec. 10-11 October 2014, 14 March 2015, Det Kongelige Danske Musikkonservatorium,
Copenhagen
SIMAX CLASSICS PSC1355 [73:38]
In his liner-notes Morten Zeuthen asks why Paul Bazelaire
is almost completely forgotten today. He was born into a musical family, his
mother and grandmother were both musicians. Paul was taught by them, started
studying cello at the age of seven and continued his studies in Paris, playing
both the cello and the piano, eventually settling for the cello. He had an
international career as soloist before he accepted a professorship at the
Paris Conservatoire, which he held for forty years. Among his many students
were Pierre Fournier. He also recorded extensively, including music by Saint-Saëns
and Schumann. His own compositions were mainly short encore pieces, and this
may be the main reason for his neglect in recent years. This is a pity, since
what we encounter on this disc is utterly attractive and charming. Two more
reasons are also suggested in the notes: He is mostly known as an arranger
of music by other composers, and since he was also a pedagogue his popular,
rather easy works could have damaged his reputation as a serious composer.
Be that as it may, the Zeuthen–Blumenthal duo have, I hope, given his
cello oeuvre a new lease of life through this recording. I do urge cellists
to savour this disc, search out the music and programme it in their own recital
programmes. Maybe a recital with only Bazelaire’s music isn’t
the best way of promoting him. Chamber music audiences tend to neglect concerts
with unknown composers and – honestly – such a programme would
be too lightweight. That said, contrasting his fresh and vital Suite Française
with a couple of more substantial cello sonatas and then rounding off the
evening with a couple of Bazelaire’s minor pieces as encores would be
a nice idea.
The Suite Française is his most well-known and played composition
and it has been recorded several times. It shows Bazelaire as more the arranger
than the composer. All five movements are based on French folksongs but his
treatment of the material is strongly inventive and personal and the suite
works well as an integrated unit. The melody of the rhythmically vital opening
Bourée we also recognise from Joseph Canteloube’s Chants
d'Auvergne; the second movement is slow and intimate; the third
radiates vitality; the beautiful Berceuse is calmly soothing and
it is followed by a rousing finale that takes us back to where we started:
the Auvergne. The journey takes just under eight minutes but it is a charming
trip.
Bazelaire arranged quite a lot of baroque music, not always in a style recognized
today as typically baroque. The Suite Italienne is an original composition
and Zeuthen sees it as a parallel to Fritz Kreisler’s putative discoveries
of works by Boccherini, Pugnani and Couperin, which he later admitted to having
composed himself ‘in the style of’ the old masters. The these
‘homages’ to three Italian 18th century composers make
a curious mixture. Without knowing the title I would never have guessed that
the first was celebrating Vivaldi; more likely Bach. The Boccherini tribute
is more plausible but the Scarlatti is atypical whether Bazelaire had Alessandro
or Domenico in mind.
On the other hand I was mightily impressed by Rapsodie dans le style Russe.
It is a thrilling composition, intensely rhythmic and requiring a lot of virtuoso
playing from both musicians. There is, in fact, a lot of charming music elsewhere
on this well-filled disc. The opening Deux pièces, for instance,
are relaxed and beautiful; the Burlesque, rhythmically invigorating
and much shorter than the timing in the playlist. After the nervously fluttering
Cache–cache the Aria (tr. 5) is noble, almost solemn,
and stays in the memory; a piece to return to in contemplative mood. The Dance
nonchalante, a limping waltz, also stands out.
His last compositions for cello and piano – the music is presented in
chronological order – are also attractive. The three-movement Morceau
de concours is fresh and inventive, Variations sur une chanson naïve
is nice and the two Concertinos are riveting, in particular the second
en forme de variations.
Not all the music here is technically challenging but all requires communicative
skills to make an impact and the experienced Morten Zeuthen and Daniel Blumenthal
make the most of every piece. First-class recording and lavish documentation
are two of Simax’s hallmarks. All in all this is a highly desirable
issue – not only for cellists – with a lot of music made available
on CD for the first time.
Göran Forsling
Support us financially
by purchasing this from |
 |