Emile JAQUES-DALCROZE (1865-1950)
La Veillée, Lyric Suite for Chorus, Soloists and Orchestra (1891-1905) (Extracts)
Sophie Graf (soprano); Annina Haug (alto); Valerio Contaldo (tenor); Benoît Capt (Baritone/Bass);
Le Chant Sacré Genève
L’Orchestre de Chambre de Genève/Romain Mayor
rec. 2018, Studio Ernest Ansermet, Geneva
CLAVES CD 501905/6 [44:54 + 39:52]
Emile Jaques-Dalcroze is known throughout the world for his innovations in musical education. But on CD the 21st Century has seen his re-emergence as a composer. Several volumes of orchestral music, three volumes of piano music on Toccata, and several other discs have brought his music to a wider public. These new discs from Claves give us his most significant choral work, one he set great store by among his works.
The French word ‘veillée” corresponds to the English ‘eve” as in evening, but a more correct translation might be “vigil”. La Veillée derives partially from George Sand’s novel of 1853
Les Maîtres Sonneurs (The Master Pipers) where chapters are replaced by ‘veillées”. Jaques-Dalcroze’s work is a large-scale fresco of different images from Sand’s novel, more or less through-composed, although there are a few individual sections. Unfortunately, there is no description of the plot of Sand’s ‘veillées” with these discs nor is there any text for the musical work itself. With these limitations one is forced to get an idea of what is happening from the singing and this is a disservice to Jaques-Dalcroze.
Regardless of the connection to Les Maîtres Sonneurs, La Veillée is a nineteen-part work (this recording contains fifteen) for 4-6 soli, chorus, and orchestra. NB. see below for track listings. It was entitled “Suite Lyrique” by the composer, but is also referred to variously as a secular oratorio and as an opera in the notes to these discs. Most of the sections are based either musically or textually on old French songs and dances, some deriving from Sand’s own region of Berry. These are unified by both a leit-motif and a uniform pastoral style that will be easily recognizable to those who know the composer’s songs. To others the style will seem more Berlioz or Saint-Saëns than Debussy, although Fauré makes several appearances.
The above-mentioned uniform style is both the work’s strength and weakness. It binds together what are really a group of disparate elements but precludes distinctiveness between individual sections. However, there are portions that stand out. La Veillée contains several orchestral interludes, which have been recorded on Sterling (review ~ review ~ review). The first of these, “À la fenêtre” (At the window) (CD 1-track 4) is very moving and beautifully scored for cello and strings. The chorus for soprano, alto, and women’s voices, “Les fées” (The Fairies) (CD 1-track 5), along with the succeeding orchestral interlude “La forêt parle“ (The forest speaks) is full of atmosphere. The setting of the folksong “Rossignolet” which begins the second CD of the set is very charming but it is the last three sections as a whole that is the highlight of La Veillée, especially the final “Prière” sung by the chorus alone.
In terms of performance honours for these discs go to the Chant Sacré Genève. They sing with just the right pastoral (there’s that word again) feeling-this is surely what Jaques-Dalcroze had in mind when he wrote La Veillée. They can also be quite dramatic when so called upon. Bass Benoît Capt is also first-rate throughout, especially in “Le Veilleur de nuit” (CD 2-track 7). Tenor Valerio Contaldo is sometimes a little rough-sounding but brings a jolly note where it is required. Sophie Graf wavers a lot in her singing and seems comfortable only when she is singing with the other soloists. On the other hand, the alto Annina Haug is quite good, especially in the more upbeat sections. The first wind players and the entire horn section of L’Orchestre de Chambre de Genève are to be commended and the whole orchestra falls readily into Jaques-Dalcroze’s ambiance. A great part of this is due to the able conducting of Romain Mayor, director of Le Chant Sacré Genève. He has an obvious love for Jaques-Dalcroze’s music and brings out many felicitous details in the score, as well as maintaining the overall continuity. Recording quality is on the intimate side, which is to the advantage in this music. With the textual drawbacks I mentioned above these discs will be somewhat limited in terms of audience appeal, but admirers of the composer will certainly want to have one of his “signature” works and it should also appeal to fans of 19th century French-language music in general.
William Kreindler
