Samuel DUCOMMUN (1914-1987)
La Moisson de Feu, Op.63a [38:06]
Sinfonietta No.2 for string orchestra, Op.91a [16:02]
Trumpet Concertino, Op.68b [12:35]
Organ Concerto No. 2, Op.102 [11:42]
Sarah Pagin (soprano), Mohamed Haidar (bass), Jean-Pierre Mathez (trumpet), Robert Märkl (organ)
Choirs and Orchestra of the High School for Music, Geneva-Neuchâtel, Children’s Choir from the Jaques-Dalcroze Institute, Geneva, Small and Large Choirs of the Neuchâtel Conservatoire of Music
Neuchâtel Conservatoire Orchestra/Nicolas Farine
Neuchâtel Chamber Orchestra/Jan Dobrzelewski
Lausanne Chamber Orchestra/Victor Desarzens
rec. Victoria Hall, Geneva and Temple de Bas, Neuchâtel, 13/16 March 2019 (La Moisson de Feu). Other recordings taken from archives dated 1984, 1963 and 1997 respectively.
CLAVES 50-3023 [78:34]
The obvious point-of-reference for Samuel Ducommun’s apocalyptic cantata is the oratorio Golgotha by his Swiss compatriot Frank Martin. And while there are a few passing similarities – most notably the passacaglia which forms the backbone of the second section, “The Sixth Seal” – any real connection is more imaginary than definitive. Ducommun’s intriguing musical language – mixing polytonality and atonality with passages of romanticism which often possess an impressionistic air, and frequently involving strict counterpoint and 18th century contrapuntal devices – is very much his own. He is a composer who is not so much comfortable in his own skin, as continually exploring new ideas and unafraid to dip his toe into what others might find incompatible liquids. I only wish the live recording of La Moisson de Feu was better, and we could hear more detail and generally a more polished orchestral sound. As it is, the student choir seems often to struggle with the demands of the work, their sound is distant and muffled, and the bass soloist, Mohamed Haidar seems uncomfortable with the very high tessitura of much of his part. Only Sarah Pagin shines through with a glorious voice and great presence. There are several riveting moments, which burst through the otherwise rather unappealing sound; most notably the blazing organ and trombone fanfare which introduce the final section – “The Eternal Return” - and conductor Nicolas Farine clearly has a good feel for the drama of the work. It is a shame that this, the work’s premier recording, is not better; but this is a work well worth exploring and in the absence of any alternative, there is much to relish here.
Much more polished, accomplished and compelling is the performance of the Sinfonietta No2 for string orchestra performed by the Neuchâtel Chamber Orchestra under Jan Dobrzelewski. Cast in four well-proportioned and neatly constructed movements, this is a work which seems to distil the essence of Ducommun’s style and delivers it convincingly. The language is very much that of the mid-20th century, mixing a romantic yearning with acerbic harmonies and much strict counterpoint; the final movement is a somewhat rigid fugue which does not really know how to end. There are some really lovely moments here, not least in the steadily treading 2nd movement with its constant ebbing and flowing of sound, and the jaunty but angular 3rd movement dance.
Two concertos complete the programme. The one for trumpet is described as a “Concertino”, which I take to be a reflection of the solo instrument’s somewhat minor role in proceedings rather than the work’s overall scale and dimensions. The recording is getting on for 60 years old, and signs of age are much in evidence. Musically, it is a work full of variety and colour, and while the trumpet part does not sound to be particularly demanding, and is certainly devoid of display or bravura passagework, Jean-Pierre Mathez makes of it what he can, while conductor Victor Desarzens and the Lausanne Chamber Orchestra keep it moving along briskly and purposefully, including the energetic if awkwardly dissonant last movement with its pseudo-Bachian chorale theme given out over a fussy fugue.
Since Ducommun was a one-time pupil of Marcel Dupré and a long-time organist based in Neuchâtel, the organ was very much his principal musical interest. The second of his organ concertos, scored for organ and strings, is the most assured and assertive work here, fluently and powerfully played by Robert Märkl and the Neuchâtel Conservatoire orchestra under Jan Dobrzelewski. The first movement is a vivacious dialogue between organ and orchestra, the former probably winning the argument, but this soon subsides into a prayerful 2nd movement, opened by the organ with a hymn-like theme which is then subjected to a series of variations in all of which the organ plays a significant, if not dominating role. At times one thinks one detects the influence of Hindemith peering out from the music, but as with all the works on this disc, Ducommun is a composer with his own very distinct if very varied musical style. The sprightly and short finale is not a fugue, but is built around very busy contrapuntal lines leading up to a mighty climax in which the organ thunders out the hymn-like theme of the second movement. After all this, the ending comes as a somewhat damp squib.
Marc Rochester
