Leon BOELLMANN (1862-1897)
Symphonie in F major Op. 24 (1894) [31:37]
Variations Symphoniques for Cello and Orchestra Op.23 (1892) [11:03]
Four Short Pieces from Heures Mystiques (1896) [11:33]
Henri Demarquette (cello)
Orchestre Symphonique de Mulhouse/Patrick Davin
rec. January 2018, La Filature, Mulhouse, France
Premiere Recordings (symphony, Short pieces)
FUGA LIBERA FUG780 [54:24]
Anyone familiar with organ music probably knows Leon Boellmann’s Suite Gothique, and at one time the Variations Symphoniques for Cello and Orchestra (on this disc) was a standard work. Boellmann is sometimes linked with French composers best known for their organ music, such as Eugene Gigout, his teacher, uncle by marriage, and eventual adoptive father, but Boellmann wrote in most forms, producing several notable chamber works and the orchestral works presented on this new disc.
The enclosed essay by Jacques Tchamkerten is entitled “Heures Mystiques et Symphoniques d‘un Parisien d’Alsace” but the words “Heures Mystiques” could have been left out of the essay’s title as all three works derive in some way from the classical model of the four-movement symphony. The Variations Symphoniques is actually not a series of variations on a basic theme but a group of four continuous sections, each developing the theme according to classical procedure. After a heroic statement of the main theme, the four sections are by turns dramatic, lyrical, brilliant, and emotional, before a striking finale. The entire piece has a lyricism and finish that may remind the listener of Saint-Saens (who Boellmann greatly admired) but the emotional level and formal sense are unique to Boellmann.
As Jacques Tchamkerten points out in the above-mentioned essay, the harmonium gained great popularity in France after about 1850 as a substitute for the pipe-organ in poorer parishes and in those where the organist’s talents were not extensive in scope. Many French composers wrote collections of harmonium pieces, frequently with devotional titles. Boellmann wrote over a hundred of these pieces, gathered together in two volumes entitled Heures Mystiques. Immediately after the publication of Volume 2, Boellmann arranged four pieces from the two volumes for strings, creating a little symphonic suite that sounds as if was originally written for this medium. The opening Allegro combines 18th century and operatic elements and may remind some listeners of D’Indy’s Suite dans le style ancienne. In the Moderato movement, a solo cello is heard against pizzicato strings and the piece is almost as dramatic as the Variations Symphoniques. The Scherzo movement is somewhat reminiscent of Faure’s Masques et Bergamasques and the final Andantino equals that composer’s Dolly Suite in charm.
The Boellmann symphony has its origins in both the composer’s admiration for Saint-Saens (to whom it is dedicated) and his interest in expanding existing musical forms. Like the elder composer’s Symphony No. 3, the first two movements of Boellmann’s work are connected. The middle movement is something very different: nominally a set of variations, however the changes are not to the thematic material, but to the counterpoint, harmony, or orchestration. The last movement is in two parts again. In addition to this formal plan, there is the thematic layout - material from the first movement is heard in the others, a la Franck, but there is also much new material in each movement. This makes for a work that is in a constant state of evolution.
The introduction to the symphony pays homage to the French symphonic tradition and also seems to prefigure Magnard; one wonders what Boellmann could have accomplished if he’d lived as long as that composer (49), much less as long as Saint-Saens (86). The Allegro is fascinating in its emotional range and variety of invention and the composer shows a natural flair for orchestration. The slow movement is very beautiful, and the return of the opening material is handled with great subtlety, as is the coda.
The structure of the Intermede has already been discussed, although one should also mention Boellmann’s use of the woodwinds here. The Recitatif et Final begins with a slow meditation which leads to a long development section for violin and orchestra - perhaps the highlight of the work. The Final is full of verve and beautifully orchestrated, with a vibrant coda.
I was unfamiliar with the Orchestre Symphonique de Mulhouse, but under Patrick Davin’s direction they provide the airy string tone and subtle woodwind sound required. Patrick Davin was a conductor of great refinement, well able to bring out the composer’s gift for drama and variety. Unfortunately, this was the last recording Davin was to make before his death at the age of 58 in 2020. He had been planning a new series of orchestral music by French organist-composers, but this was not to be. However, this disc remains as a tribute to a fine conductor.
William Kreindler
