Although he spent many
years in Nancy, Ropartz was a Breton
at heart. Brittany is often evoked in
his music in one way or another. So,
when World War I broke out, he found
refuge in Brittany, where he composed
his large-scale and quite substantial
Piano Trio in A minor.
The opening of the first movement evokes
a beautiful seascape in all but the
name, although – needless to say – the
music is neither descriptive nor programmatic.
The music nevertheless reflects on the
hardships of the war years, and is rather
troubled, anguished and often dramatic.
Structurally, the Piano Trio is still
strongly indebted to Franck, as were
many of Ropartz’s early works. He, however,
managed to lighten his at times dense
textures by his recourse to some Breton
folk music, either real or subtly alluded
to. In this, Ropartz often came close
to Joseph Jongen, whose music often
has some rustic flavour. Neither was
Ropartz totally indifferent to Impressionism,
that also left its mark on the music.
The first movement is fairly intricately
worked-out. By contrast, the Scherzo
is an energetic outdoor dance with a
calmer, slower central Trio. The third
movement is a beautifully expansive
song without words leading straight
into the fairly developed Finale opening
with tolling bells on the piano launching
another vigorous, folk-inflected main
theme, actually related to the first
main theme of the first movement. Ropartz’s
Piano Trio, in much the same way as
the First Violin Sonata dedicated to
Ysaÿe, is a good example of the
composer’s own personal approach to
Franck’s cyclic construction.
As a number of other
composers active during the inter-war
years, Ropartz composed a work for the
Quintette instrumental de Paris (flute,
harp and string trio) founded by Pierre
Jamet. Koechlin (Primavera Op.156
– 1934), Jean Cras (Quintette
– 1928), Pierné (Variations
libres et Final Op.51
– 1932), Roussel (Sérénade
Op.30 – 1925) as well as Joseph
Jongen (Concert à
cinq Op.71 – 1923) and Daniel-Lesur
(Suite Médiévale
– 1945/6), whom Michel Fleury fails
to mention in his otherwise informative
and well-documented insert notes, are
among the ones who composed for Jamet.
Ropartz’s offering was his delightful
Prélude, marine et
chansons completed in
1928, and likely one of his most readily
appealing works. The music is as beautifully
crafted as ever, but displays the lighter,
more playful side of Ropartz’s music.
The music unpretentiously speaks for
itself and the concluding Chansons again
have a refreshing rustic flavour.
As well as similar
works by Schmitt, Pierné and
Roussel, Ropart’s String Trio
in A minor was prompted by the
celebrated Trio Pasquier. It is a somewhat
less expansive work than the Piano Trio,
although it, too, is a substantial work
in four movements of roughly equal length.
The Scherzo is just a tat shorter than
the other three movements. However,
when compared to the Piano Trio (also
in A minor, but with quite different
results), the String Trio is much more
compact, rather more ascetic; and a
work in which the composer kept his
material strictly under control, while
paring it down to the essential. I for
one regard it as one of Ropartz’s finer
achievements, and undoubtedly a major
work that clearly deserves wider exposure
and that generously repays repeated
hearings.
The present recording
of the Piano Trio and of Prélude,
marine et chansons was made
as far back as 1995, and is apparently
only released now as part of the generous
and brave enterprise on Timpani’s part
to record a large selection of Ropartz’s
output. The Quatuor Stanislas is now
completing their recording of Ropartz’s
string quartets, while Timpani is completing
their recording of the symphonies. These
performances are strongly committed
and beautifully played throughout, whereas
the recording is up to Timpani’s best
and the production excellent with informative
notes by Michel Fleury.
This most welcome addition
to Ropartz’s expanding discography is
yet another feather in the caps of Timpani
and the Stanislas. Not to be missed.
Hubert Culot
for details
Alexis Galpérine (violin), Cécilia
Tsan (cello), Jean-Louis Haguenauer (piano)a;
Ensemble Stanislasb 
