French Trumpet Concertos
Henri Tomasi (1901-1971)
Concerto pour trompette et orchestre (1944)
André Jolivet (1905-1974)
Concertino pour trompette, orchestre à cordes et piano (1948)
Deuxième concerto pour trompette (1954)
Florent Schmitt (1870-1958)
Suite pour trompette et orchestre Op.133 (1955)
Betsy Jolas (b. 1926)
Onze Lieder (1977)
Håkan Hardenberger (trumpet), Royal Stockholm Philharmonic Orchestra/Fabien Gabel
rec. 2021, Konserthuset Stockholm, Sweden
BIS BIS-2523 SACD [70]
Henri Tomasi’s music, while reasonably well-known, is still rather under-represented in concerts or on records. His pieces played more or less often include trombone concerto (available on BIS CD-568), the fairly impressive Fanfares liturgiques for brass, and the trumpet concerto. The latter is regularly taken up by trumpeters who want to play something other than Haydn’s world-famous concerto, so it is no newcomer. The music, largely neoclassical and easy-going, has endeared itself to performers and audiences alike, and deservedly so, I would say. What distinguishes this performance from the others readily available (for example, by Pasi Pirinen on ALBA ABCD 369) is the final movement. It is heard here in the original, somewhat longer version that had survived as a piano reduction. The reconstruction, or at least the orchestration of the missing bars, was a collective initiative of the present soloist, the conductor Fabien Gabel, the composer’s son Claude Tomasi, and the conductor and orchestrator Franck Villard.
André Jolivet’s two trumpet concertos, now part of the staple diet of any self-respecting trumpet player, have been generously represented in the catalogue. Roger Delmotte recorded them first with the composer (the recordings were once re-issued on CD by EMI France in their now short-lived series Les Rarissimes de…), and so did Maurice André (also re-issued in an Erato-Warner four-CD set). Among recent recordings one may mention Jouko Harjane (on Warner Apex) and Wynton Marsalis (on Sony).
Jolivet’s composed the Trumpet Concertino at the request of Claude Delvincourt, then director of the Paris Conservatoire, for a test piece. It proved so successful that it became part of the repertoire. The work, judiciously conceived as a theme and variations, exploits the trumpet’s complete range to the full; it requires much stamina of the player. The trumpet part is quite demanding but ultimately rewarding, which explains its success.
Jolivet’s Second Trumpet Concerto is somewhat different from its predecessor. First of all, the music is unashamedly jazz-influenced, though again quite demanding. Raymond Tournesac, who gave the first performance, recalled that his first look at the score had him almost panicking. The composer bluntly replied that Louis Armstrong “manages it well enough”. As if to emphasize the jazz-oriented music, the piece is scored for eight solo wind instruments including two saxophones, a trombone, harp, piano and percussion, and no strings except one double bass. Jolivet draws marvels from this ensemble. One is carried along from the very beginning by the sheer inventiveness. The outer movements overflow with energy whereas the central movement is a searingly beautiful urban Nocturne in all but the name.
Florent Schmitt’s Suite pour trompette et orchestre was also composed as a competition piece for the Paris Conservatoire. It was written for trumpet and piano in 1954 and orchestrated the following year. As may be expected, it is a well-crafted piece in three movements. The central Lent sans excès is beautifully atmospheric, the main theme supported by the strings and the harp. The outer movements are mostly lively and energetic, and the third movement with its breathless character, complex rhythms and flourishes is again quite taxing.
Betsy Jolas, by now the grand old lady of French music, has enriched French contemporary music with many a fine work that would be worth renewed exposure. Onze Lieder for trumpet and orchestra, the most recent work in this programme, is a nice find, I must say. The composer once remarked that the very title of the work may be hard to reconcile with the trumpet, but one should always keep in mind that the trumpet is a highly versatile instrument also capable of lyricism and sweetness. (The slow movement of Jolivet’s Second Trumpet Concerto also makes it clear that the trumpet can sing.) Jolas went on to say: “These lieder sung by the trumpet, supported by the changing textures of the chamber orchestra, are sometimes dreamy, sometimes caustic and at times evoke jazz and popular or even sentimental music.” All true, and nothing to add to these words. The real surprise comes in the last movement, a somewhat unexpected unaccompanied cadenza. This splendid piece is a fine work, full of arresting gestures and often surprising instrumental textures. I believe that it is a wonderful addition to the repertoire that should appeal to anyone who wants to explore lesser-known by-ways of the repertoire.
Håkan Hardenberger is a brilliant musician with impeccable technique. He navigates fearlessly through these quite exacting but often very beautiful scores that all deserve to be heard. He is superbly supported by the fine readings of a strongly committed Stockholm Philharmonic. I suppose that in Jolivet many will want to stick to Maurice André and the composer for the sake of authenticity. Even so, these performances compare favourably with those somewhat older recordings that may now be rather difficult to find. I have thus no reservation concerning this well-filled, well-recorded and superbly played release.
Hubert Culot
