Belle Époque 1886
César FRANCK (1822-1890)
Sonata for Cello and Piano in A major [32:21]
Benjamin GODARD (1849-1895)
Sonata for Cello and Piano in D minor, Op 104 [32:01]
Corinne Morris (cello), Petr Limonov (piano)
rec. November 2019, Carlisle Place, London.
SOMM RECORDINGS SOMMCD0626 [64:25]
This CD usefully pairs two sonatas which were written almost contemporaneously with each other. The Franck Sonata is particularly renowned in its version for violin though, as Gavin Dixon points out in his useful notes, the work may originally have been conceived for cello. When the cellist Jules Delsart (1844-1900) came to make his version for cello and piano, with the composer’s blessing, he appears to have found little difficulty in adapting Franck’s score. However, Franck composed the work as a violin sonata and the notes relate that he arranged for the score to be presented as a wedding gift to Eugène Ysaÿe on the morning of his nuptials. Apparently, the great Belgian violinist was so taken with the work that he immediately borrowed a violin, learned the score – on his wedding day! – and performed it later that day to the wedding guests. If that story is indeed true then I can only conclude that the new Mme Ysaÿe was an extremely tolerant lady.
Here the work is performed in its cello version by Corinne Morris. This is the first time I’ve encountered her on disc and I was astonished to learn that, just as she was on the cusp of a significant career, she was compelled to abandon playing the cello for several years as a result of a debilitating shoulder injury which made it all most impossible for her to undertake day to day tasks, let alone play the cello to professional standards. Happily, through great perseverance Ms Morris recovered and this disc – not her first since her recovery – demonstrates that she is fully restored. For this latest project she has been joined by the pianist Petr Limonov. These artists have been collaborating together on the concert platform for some time but this is their first CD together.
I’m fairly familiar with the Franck sonata – though principally in its violin version. I enjoyed this present performance very much indeed. The seemingly endless flow of melody in the first movement is very well suited to Corinne Morris. She produces a firm, warm tone and her instrument sings Franck’s long melodic lines most persuasively. Incidentally, her instrument adds a real touch of authenticity to these performances: it was made by the French luthier Claude Auguste Miremont (1827-1887) in 1876, just a decade before these two works were composed. Morris’s playing inevitably catches the ear but the contribution of Petr Limonov is no less impressive; he plays Franck’s rich-textured piano parts splendidly, weighting the piano tone expertly. In the second movement both artists supply strength and ardour with no detriment to tonal quality. The gestures in the music are all well brought off.
The design of the third movement is unusual. The Recitativo-Fantasia section is challenging in the sense that the musicians – especially the cellist, of course – need to sustain the attention of the listener. That’s certainly achieved here, and then the Ben moderato section is eloquently done, not least when the artists bring the music to a passionate, weighty climax. In the canonic finale Corinne Morris’s cantabile skills are well to the fore. The duo does full justice to Franck’s ardent lyricism and it’s in this movement above all that the big scope of the writing really comes across. In no small measure that’s due to the great commitment shown by Corinne Morris and Petr Limonov. This is a very impressive account of the sonata.
I said that I am quite familiar with the Franck sonata but I can’t make the same claim when it comes to Benjamin Godard’s sonata. The sonata, which was was published in 1887, is a very interesting work. Gavin Dixon makes some important points in his notes. One is that Godard had close links to Jules Delsart. Not only were both of them teachers at the Paris Conservatoire – as was Franck - but also the two of them played together in a string quartet which rejoiced in the name of La Trompette (Godard was the violist). It was this ensemble which premiered Franck’s String Quartet in 1890. Another telling point made by Gavin Dixon is that Godard was of Jewish descent and was repelled by Wagner’s anti-Semitic views. Consequently, although Godard’s music has German influences – especially a debt to Schumann – he was not drawn to Wagner’s music in the way that Franck was.
Godard’s sonata is cast in three movements, the first and last of which are substantial. In the first, marked Moderato, we soon become aware that, as was the case in the Franck sonata, the pianist will be an equal protagonist, although the dimensions of the piano part are a little more modest; for example, Godard’s writing for the instrument doesn’t include massive organ-like chording. The music is serious in purpose but it’s also attractive. The movement is a long one – fractionally over thirteen minutes in this performance – but the listener’s interest is held, not least because of the variety in Godard’s writing and invention. One detail that particularly caught my ear occurs several times. It’s a tense passage of quaver piano octaves in which the cello joins. The movement is strongly projected by Morris and Limonov.
The central slow movement – Allegro non troppo – starts simply enough with a very lyrical cello melody accompanied by quite plain piano chords. However, the textures gradually become richer and more complex and as this happens the piano becomes much more an equal partner. Then the music gradually recedes to a more tranquil mood and the last two or three minutes are very poetic, especially as delivered here. As Gavin Dixon explains, the finale has several different tempo markings; essentially Godard adopts a fast-slow-fast-slow structure. That said, it seems to me that the pulse never seems to drop significantly. The opening is athletic, even turbulent, and Godard requires no little energy from his performers. Morris and Limonov embrace this challenge and as the movement unfolds, they respond skilfully to the composer’s range of different demands. Theirs is an exciting, dramatic reading and the tension never flags. I enjoyed my first encounter with Godard’s sonata and whilst, of course, that’s due to the quality of the music it’s also a tribute to the commitment and skill of these two performers.
These excellent performances have been expertly recorded by engineer Ben Conellan. He’s achieved the significant feat of balancing the two instruments very well despite the strong piano parts, especially in the Franck. Whilst we hear Petr Limonov’s pianism to excellent effect the warm, ardent sound of Corinne Morris’s cello comes over beautifully.
Franck and Godard have been extremely well served by these two highly talented musicians. This may be their first CD together but I hope it won’t be the last.
John Quinn
