César Franck (1822-1890)
Complete Songs and Duets
Tassis Christoyannis (baritone)
Véronique Gens (soprano)
Jeff Cohen (piano)
rec. April & October 2021, Palazzetto Bru Zane, Venice, Italy
Programme listing after review
BRU ZANE BZ2003 [2 CDs: 105]
The bicentenary of the birth of Belgian/French composer César Franck has prompted a number of new and reissued recordings. Although I am not surprised, I was hoping for more interest in Franck’s anniversary year. Nevertheless, Bru Zane can be praised for its significant contribution in producing a series of live events entitled ‘The world of César Franck’ including performances of Les Éolides, Psyché, Rédemption and Les Béatitudes. In addition to this album, Bru Zane are also co-producing concert performances of his grand opera Hulda in the complete, uncut version to be recorded for the label’s ‘French Opera’ CD-Book series.
It seems appropriate in Franck’s bicentenary year to provide some background information from the standpoint of his legacy which is far too little-known today. Born in Liège but a Parisian by adoption, Franck was naturalized as French citizen in 1873 and was pivotal in the development of French music in the last quarter of the nineteenth century. From 1831, aged eight, Franck studied at the Conservatoire de Liège and in 1837 moved up to the Paris Conservatoire where some thirty-five years later he was appointed organ professor upon his naturalisation. Franck’s many students included the composers Vincent d’Indy, Henri Duparc, Ernest Chausson, Louis Vierne and Paul Dukas. As one of the foremost organ composers of the nineteenth century and an organist of world renown Franck held posts in Paris at the Notre-Dame-de-Lorette, Saint-Jean-Saint-François-au-Marais and most notably at the Basilique-Sainte-Clotilde.
In general, Franck’s works no longer have the same currency they once had. For example, the deeply religious Franck was drawn to church music and wrote several sacred works including his oratorio Les Béatitudes which he considered to be one of his finest works. Performances of his other oratorios, too, notably Ruth (1846), Les Sept Paroles du Christ sur la Croix (1859), Rédemption (1872), Les Béatitudes (1879) and the cantata Rébecca (1881) are rarely given. For the music theatre, Franck wrote four operas left in various stages of completion, notably Stradella (1842), Le Valet de Ferme (1853), Hulda (1885) and Ghiselle (1889) and performances have been rare events.
Today I associate Franck primarily with his Prélude, Choral et Fugue for solo piano (1884), the great Violin Sonata (1886), the acclaimed D minor Symphony (1888) and of course his much-loved sacred choral work Panis angelicus as a short, standalone piece. A handful of Franck works sometimes encountered on record include Les Éolides (1876), Piano Quintet (1879), Le Chasseur maudit (1882), Les Djinns (1884), Variations symphoniques for piano and orchestra (1885), Psyché (1887) and the String Quartet (1889).
Of Franck’s overlooked works, probably none are more so than his mélodies (songs). Now, with this new release, Bru Zane provide what is described as the first complete recording of Franck’s works for voice and piano. This collection of 22 mélodies and 6 duos range throughout most of Franck’s compositional life, commencing in 1843 when he was just out of his teens with Robin Gray and Le Sylphe through to 1889 with Les Cloches du soir and La Procession written close to the end of his life. For his melodies, Franck elected to set French texts headed by Victor Hugo with six and also François-René de Chateaubriand, Alphonse Daudet, Alexandre Dumas, Joseph Méry and others.
In the genre of mélodie française, I attribute greatness to Duparc, Fauré and Debussy with valuable contributions from Berlioz, Gounod, Massenet, Saint-Saëns, Bizet, Canteloube and Ravel all serving to hugely expand the repertoire. In my view, this collection of Franck’s mélodies and duos doesn’t have the same array of emotional states or the enduring memorability of those written by the acknowledged French masters. That said, there is much to enjoy here, as Franck’s mélodies are undoubtedly well-crafted and have a pleasingly engaging disposition.
Bru Zane has entrusted this Franck collection to Greek baritone Tassis Christoyannis and American pianist Jeff Cohen, a partnership which has featured on several French song collections on the Bru Zane and Aparté labels, including Reynaldo Hahn – Complete Songs, Charles Gounod – Mélodies Saëns – Mélodies, Édouard Lalo – Complete Songs, Fernand de La Tombelle – Mélodies and Benjamin Godard – Mélodies. Christoyannis shines throughout for his reliably warm and appealing tone coupled with the responsive accompaniment from Jeff Cohen. Christoyannis demonstrates unfailing attention to the text and I particularly enjoy his rendition of the L’Émir de Bengador and Le Sylphe, with its cello part effectively played by Enrico Graziani.
In the set of 6 Duos Christoyannis is partnered by renowned French soprano Véronique Gens who also sings a single mélodie. Over her career, Gens has released many albums and I especially admire her collection of French mélodies for voice with light chamber accompaniment entitled Nuits on Alpha. Her voice remains in outstanding condition and dependably attractive, displaying a special gift for expression. Her one mélodie is a favourite of mine, the earliest of two of Franck’s settings of Victor Hugo’s admired verse S’il est un charmant gazon. This is quite lovely singing of Hugo’s love story in unerringly dewy-eyed verse comprising of pastoral images. Gens doesn’t get carried away and there is never any chance of her rendition becoming overblown or mawkish. Written in 1888 the 6 Duos, settings of text by five different writers, best evokes the atmosphere of the Parisian salon in the Belle Époque. Christoyannis’ ease of delivery and Gen’s engaging charm mean that these lovely duets, designed to please the salon audience, make only modest demands on our concentration.
Sound engineer Matteo Costa has achieved splendid clarity and balance between singers and piano. It’s hard to fault the presentation of Bru Zane releases and this album is no exception. In the accompanying booklet there are a pair of essays Another side to César Franck by Alexandre Dratwicki and The Songs and Duets of César Franck by Jean-Philippe Navarre. There is also detailed and helpful information given for each of the twenty-eight songs/duets together with several reproductions of artworks and documents of the period. The French texts provided with English translations alongside are invaluable.
Beautifully performed, recorded and presented, this album of the complete Songs and Duets of César Franck is an appealing addition to the catalogue.
Michael Cookson
Contents
CD 1 [53]
1. Les Cloches du soir (1889)
2. Nocturne (1884)
3.Le Vase brisé (1879)
4. Roses et Papillons (c.1860)
5. Le Mariage des roses (c.1873)
6. L’Émir de Bengador (c.1847)
7. Ninon (1851)
8. Lied (c.1874)
9. Robin Gray (1843)
10. S’il est un charmant gazon (1847?)
11. S’il est un charmant gazon (1857)
12. Aimer (1849)
Six Duos (1888)
13. La Chanson du vannier (Duet no.6)
14. L’Ange gardien (Duet no.1)
15. Aux petits enfants (Duet no.2)
16. La Vierge à la crèche (Duet no.3)
17. Les Danses de Lormont (Duet no.4)
18. Soleil (Duet no.5)
CD 2 [52]
1. L’Ange et l’Enfant (1846)
2. Passez! passez toujours! (c.1860)
3. Souvenance (1846)
4. Pour les victimes (1887)
5. Paris (1870)
6. Patria (1871)
7. Les trois exilés (1848)
8. À cette terre où l’on ploie sa tente (1847)
9. Le Sylphe (1843) - Enrico Graziani (cello)
10. La Procession (1889)
