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Arthur HONEGGER
(1892-1955)
Horace victorieux (1920-21) [21:24]
Cello Concerto (1929) [16:37]
Prélude, Fugue et Postlude (1929 arr. 1948) [12:54]
Une Cantate de Noël (1952-53) [24:46]
Alban Gerhardt (cello); James Rutherford (baritone); children from
the choirs of Tewkesbury School, Schola Cantorum and Dean Close
Chamber Choir, Robert Court (organ)
BBC National Orchestra and Chorus of Wales/Thierry Fischer
rec. 14 December 2007 (live), St David’s Hall, Cardiff (Cantate),
20 - 23 February 2008, Brangwyn Hall, Swansea, DDD
HYPERION CDA67688 [75:43]
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Arthur Honegger was a member of Les Six who became a major symphonist.
He had a delight in trains, hence his most famous composition,
Pacific 231, a description of just such a train making
a journey and undertaking an emergency stop. He also wrote operas,
operettas, chamber and instrumental works and music for film
(he scored Abel Gance’s Napoleon). It was Honegger
who introduced Miklós Rózsa to the idea of writing
for film.
Horace victorieux is described as a symphonic mime after
Livy. It’s a large, disturbing and violent score, with
little repose. It’s brilliantly scored and full of the
most thrilling music. Not an easy listen, perhaps, but then
what music by Honegger is an easy listen? What a piece, though!
Perhaps the violence has militated against it being performed
too often, but it’s a fascinating start to his orchestral
canon. It was preceded only by Le chant de Nigamon (1917)
and Pastorale d’été (1920), neither
of which prepare one for the onslaught which is Horace victorieux.
Although this performance cannot hold a candle to Michel Tabachnik’s
truly hair-raising account of the work (with l’Orchestre
National de France, on a Barclay LP (995 042), coupled with
Honegger’s 1stSymphony),
the BBC National Orchestra of Wales gives a powerful and heroic
account. This, alone, is worth the price of the disk.
The Cello Concerto is different entirely. It’s
gentler, more melodic and great fun. This work has the tang
of Stravinsky and Les Six, it’s so obviously a product
of the 1920s. Alban Gerhardt plays very well indeed in this
authoritative performance, which perfectly captures, by turns,
the raucousness of the age, in the bristly finale and a certain
wistfulness. However, if you can find the 78s of the work, given
by Maurice Maréchal - for whom the work was written -
with Honegger conducting, grab it, for it is a fine performance
as well as an historical document.
The Prélude, Fugue et Postlude derives from a
larger choral work, but it is obvious that Honegger meant it
to be seen as a separate entity. Although enjoyable it’s
not quite up to the very high standard Honegger set himself
and is thus a bit of a disappointment. The material isn’t
memorable and the orchestration is too thick - too easy and
obvious. However, it’s good to have any Honegger on disk
so I won’t carp too much.
Une Cantate de Noël is more a quodlibet than a cantata,
mixing, as it does, well known carols with prayers in Latin.
Here is the only French choral work I know which comes anywhere
near the greatness of Lili Boulanger’s magnificent Du
fond de l’abîme - one of the handful of 20th
century masterpieces for chorus and orchestra. It brings together
all the different strands of Honegger’s art, and so we
have the tension of the 3rdSymphony,
side by side with the easy-going music of the 4th
combined with beautiful choral writing, all underpinned with
a transparent orchestral score. It’s easy to see why the
work has become popular and it has been recorded several times
- once it even appeared as a free CD, given away with the BBC
Music Magazine, so it must be popular! Like the other performances
on this disk, this is good, but it still leaves one wanting
more, for the interpretation fails to reach the heart of the
music. Added to this, the usually reliable James Rutherford
suffers from a wide vibrato which grates on the ear - how one
yearns for the perfect vocal production of Pierre Mollet (in
both the Ansermet (Decca 414046) and Tzipine (not available)
recordings) and the chorus sounds rather lacklustre, and too
small, at times. The final climax is well handled.
These are good performances, but there are better, and they
never quite rise to the occasion as they should. The sound is
fine with a very wide dynamic range and the booklet has an informative
note and a full text and translation. However, this disk will
find many friends for this important and interesting composer
and, for that, we should be grateful for its issue. For repeated
pleasure, though, I shall be looking elsewhere.
Bob Briggs
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