Philippe HUREL (b. 1955)
Phonus: Phonus ou la voix du Faune (2004) [21:18] ; Figures
libres (2001) [15:43] ; Quatre Variations (2000) [19:42]
Benoît Fromanger (flute), Oslo Philharmonic Orchestra/Christian Eggen;
Ensemble Court-Circuit/Pierre-André Valade; Matthew Ward (percussion);
Argento Chambert Ensemble/Michel Galante
rec. 15 October 2004, Oslo Concert Hall; 3 May 2005, Cité de la musique,
Paris; 8-9 September 2005, Studio Systems 2, Brooklyn, New York City. DDD
PLUSLOIN MUSIC PL S217 [56:46]
The flute concerto Phonus was commissioned for the Ultima Festival
in Oslo, and this recording is the live recording of the premiere. An atmospheric
opening introduces Hurel’s spectral style of harmonic writing, with
some interesting evolving textures. The soloist is surrounded by the sound
of the orchestra. An extended cadenza follows, which makes use of numerous
contemporary techniques and is an impressive virtuoso display. Flute player
Benoît Fromanger plays with the utmost technical control and delivers
an exciting and communicative performance. A second cadenza, which also uses
the orchestra’s flute section, is also highly engaging and forms one
of the work’s highlights. The composition’s subtitle, La voix
du Faune makes reference to the influence of Debussy’s famous orchestral
prelude, with its celebrated opening flute solo, on which Hurel bases his
material. Hurel’s work has a sense of challenge about it, in terms of
its technical demands for the soloist. It gives a fascinating modern perspective
on Debussy’s music, which permeates this work at every level. There
is a sense of risk-taking in the performance, providing an appealing sense
of drama, and the playing is always highly convincing, from both the soloist
and the orchestra.
Figures libres, for eight players, was written in 2001 and commissioned
by Ensemble Recherche. The opening possesses a Stravinskian rhythmic drive,
with cells used as the basis of the work until the players gain freedom, one
by one. Virtuosity once again pervades the music, and combinations of contrapuntal
and monophonic material give variety to the textures. With three distinct
sections, the music builds in momentum before a sudden change of mood. The
central section is slower and less frenetic, with canons emerging between
the parts. The final section regains the energy of the opening, with repeated
cells once again featuring, and strongly defined rhythmic patterns maintaining
the music’s momentum. Ensemble Court-Circuit give a virtuosic and impressive
performance.
The final work on the disc is Quatre Variations for percussion and
chamber orchestra. The variations of the title refer to structural and musical
parameters rather than a theme as such; for example, changes are made to interval,
rhythms and tempi. The solo vibraphone gives a wonderful sense of colour,
which is balanced well with Hurel’s imaginative orchestration. Despite
the complex structural elements which underlie this work, there is a sense
of wit and a lightness of touch which is highly appealing. Gentle jazz influences
can be detected, especially in the solo line, and tributes to Grisey and Messiaen
also form part of the music’s material.
Hurel’s music is intelligently constructed and has a sense of unity
between all its aspects: orchestration, melody, harmony and structure. There
is a strong sense of character in his music and it has much to offer on multiple
hearings. The ensembles here are excellent and provide performances of a high
quality. The soloists, Benoît Fromanger and Matthew Ward, are both dazzling
and play with impressive virtuosity and musicianship.
Carla Rees