A quick look at the details of the pieces
featured in these two volumes of Jolivet’s piano music prompts
a number of preliminary remarks. First, although the cello
was his instrument, Jolivet composed a considerable number
of piano pieces, both small and large. Second, most of his
piano music, with the exceptions of Mana (1934)
and the piano sonatas (1945 and 1957), has long been overlooked.
These two discs include a considerable number of hitherto
unrecorded and little-known pieces. Third, there will certainly
be a third volume since Pascal Gallet has still to record
the First Piano Sonata. Fourth, many of the early pieces
are fairly short and show the composer exploring various
techniques, from simple dance forms to more harmonically
complex structures. Fifth, and most importantly to my mind,
the fastidious craftsmanship lavished by the composer, be
it on a short didactic piece or a substantial work, such
as Mana, Danses rituelles and
the piano sonatas.
The earliest
piece of all is Romance barbare, written when
the composer was 15, which seems almost incredible when
considering the high level of technical proficiency already
on display. During the years preceding World War II, Jolivet
set about exploring various techniques, which had him briefly
toying with twelve-tone and serial writing. This is certainly
to be heard in Trois temps (1930) and in the
rather better-known Mana (1934). In other
pieces from that period he explored various aspects of rhythm
through reliance on popular dance rhythms of the time such
as Tango and Ragtime. This is quite clear in the short pieces
concluding Volume 1. One of these, however, should be singled-out
for being at odds with the other easy-going pieces; although
they must nevertheless be rather tricky to play. In spite
of its somewhat humorous title, Sidi Ya Ya,
subtitled “prelude”, is as beautifully crafted a piece as
one may wish, and pays sincere tribute to Debussy. Similarly,
the short Sarabande sur le nom d’Erik Satie
pays homage to the recently deceased composer by alluding
to Satie’s often deceptive simplicity, though without blunt
imitation. In this piece as in many of the shorter works
featured here, Jolivet never writes down and manages to
challenge the skills of his players. Just listen to his
writing for young players in Berceuse dans un hamac,
Danse caraïbe, Danse roumaine
and the delightful Chansons naïves. This is,
I firmly believe, the mark of a true master.
Various important
works from the mid-1920s and 1930s see the composer tackling
different techniques and harmonic realms. These may be considered
somewhat experimental, although each of them provides a
completely satisfying musical experience. This is certainly
the case with the substantial suite Mana,
inspired by objects (of which two are by Alexander Calder)
given to Jolivet by his mentor and friend Edgard Varèse.
The music, so to say, ritualises the objects without ever
trying to make things exotic or merely descriptive. In fact,
the music of Mana is a completely abstract
ritual, musically indebted to Berg, whom Jolivet admired,
and to Varèse. But the suite as a whole is entirely personal
and clearly displays a number of features that one has come
to regard as Jolivet hallmarks, such as the importance of
rhythm, primeval paganism and a strong liking for clear-cut
contrasting musical ideas. The music made a strong impression
on Messiaen who wrote an illuminating and important foreword
to the score; reprinted in full in the insert notes accompanying
Volume 1. Some time later, Jolivet and Messiaen joined with
Daniel-Lesur and Baudrier, and founded the short-lived but
important group Jeune France, mainly as a reaction
to the Neo-Classicism of Stravinsky and his followers. In
Jeune France’s manifesto, Yves Baudrier wrote that
“Music must untiringly provide its spiritual violence and
its generous reactions to all those who love it ... [the
group] will aim at spreading a living music, with sincerity,
generosity and artistic honesty”. One can easily understand
why Jolivet joined the group, i.e. besides his friendship
for Messiaen and his other colleagues. Though written two
years before Jeune France’s founding, the music of
Mana clearly reflected the group’s main concerns.
Two pieces written after the group’s founding, Cosmogonie
(1938) and Cinq danses rituelles, obviously
adhere to the group’s ideas. Not a single trace of the ambient
Neo-Classicism in these strongly rhythmical, and often rugged
pieces that are both concerned with Creation and with some
sort of intimate Paganism. Jolivet once confessed admiration
for Berg, but his high regard for Bartók is also clearly
to be heard in these powerfully impressive pieces. Both
pieces also exist in orchestral versions made by the composer
some time later. The composer conducted a recorded performance
of Cinq danses rituelles [now in André
Jolivet – The Erato Recordings, reviewed here
some time ago]. The somewhat earlier Trois
temps and Deux mouvements,
both composed in 1930, cast a last glance at what might
be referred to as the classical suite but obviously experienced
through Jolivet’s own microscope. Again there is no blunt
imitation of Bach or Rameau, but rather sincere homage to
his musical ancestors. Etude sur des
modes antiques (1944) was written at the request
of the French publisher Durand in an attempt to propagate
the so-called simplified notation method of Obouhov; the
initiative proved unsuccessful in spite of the interest
shown by several composers including Honegger. The piece
remained on the publisher’s shelves until 1970 when Jolivet
“transcribed” it into normal notation. This short piece
also reflects one of Jolivet’s lifelong concerns: modality.
The piano sonatas
(1945 and 1957) are both mature works that may be regarded
as amongst his finest pieces, and – no doubt – as some of
the most outstanding piano sonatas composed in the second
half of the 20th century. The Second Piano Sonata
is compact in three movements. The music represents Jolivet’s
own blend of serialism, no doubt still influenced by Berg
rather then Webern. It is also a very demanding and taxing
piece, both for the player and the listener. It is powerfully
expressive, uncompromising music that does not yield its
secrets in one hearing; unquestionably one of his masterpieces.
Jolivet’s piano
music is a sizeable and important part of his output, and
one that has been long overlooked. The earlier pieces trace
his musical progress before World War II, whereas the others
illustrate the wide variety of his musical world. The pieces
featured in these discs certainly add to our appreciation
of Jolivet’s achievement.
Pascal Gallet,
a pupil of Yvonne Loriod, plays magnificently throughout
and is clearly in tune with the music. He plays the shorter
pieces for all they are worth, with verve and lightness
of touch, whereas his performances of the weightier works
have obviously benefited from meticulous preparation of
these difficult scores and from a deep belief in the music’s
indomitable strength. Excellent recording and generous insert
notes. An absolute must for all the admirers of Jolivet’s
music, but I am sure that many will derive much pleasure
from the shorter, more accessible pieces before facing the
demanding, but ultimately rewarding challenges of the bigger
works. I hope that the third volume will be released shortly.
My Records of
the Month.
Hubert
Culot
Pascal Gallet (piano)
