Vincent d’INDY (1851-1931)
Istar Op. 42 (1897) [13.12]
Choral Varié for saxophone and orchestra (1903) [9.40]
Symphony No. 3 Op. 70 (1916-18) [32.08]
Diptych méditerranéen Op. 87 (1926) [15.40];
Sigurdur Flosason (saxophone)
Iceland Symphony Orchestra/ Rumon Gamba
rec. Háskolabió, Iceland, 21-24 September 2009
CHANDOS CHAN 10585 [71.09]
So, more d’Indy: not only in the now three volumes from Chandos(see reviews
of Vol.
1 and Vol.
2), but last year, on Hyperion (CDA67690 - see review).
He was a composer not always understood, especially in his native France and
not always performed with understanding.
When performances came they were often dutiful, so it’s good to welcome
this Chandos volume and especially the Third Symphony.
Possibly because the British weather was so dismal that day or possibly because
I was thinking about a forthcoming holiday to the region I started to listen
to the CD from the last track the Diptych méditerranéen and
found this to be an instantly adorable work. This is what my wife calls “comfort
music” and it is certainly reassuring and warm-hearted. The two equal
length movements are first ‘Soleil matinal’- which starts in imperceptible
quiet and the second ‘Soleil vespéral’. The first part grows
towards its midday with a glorious brass chorale via the nagging call of cicadas.
The second part fades gradually into a warm, sunset glow again via the cicadas.
The performance captures the atmosphere beautifully.
The disc begins with a wonderfully sensitive rendition of the earliest work
here Istar. It’s based on an Assyrian story which concerns
a goddess who in releasing her imprisoned lover divests herself of her ornaments
and clothes eventually appearing completely naked through the seventh door
of the underworld. d’Indy plays a formal trick in this ‘Variations
symphoniques’ of beginning with his seven variations and ending with
his theme, revealed as it were, completely naked in wind and strings against
a forceful ostinato. So, d’Indy the eclectic, makes the work grow from
a deserted scene of vague impressionism, through ideas which are almost Wagnerian
into the main theme which in its contours may well be reminiscent of Gregorian
chant which was such a regular inspiration to the composer who was a devoted
Roman Catholic. A fine work indeed and one very much in the César Franck
tradition which d’Indy was keen to uphold.
The Choral varié for saxophone and orchestra is
also a sort of theme (the chorale melody stated at the beginning) and a series
of developments or variations. Andrew Thomson’s booklet notes are a model
of their kind in saying something about the background to each work and then
taking the listener gently through the music with enough useful analysis without
it becoming too technical. Thomson also describes this work as eclectic. With
its solemn march tread, impressionistic linking ideas and classical format
I completely agree. Sigurdur Flosason milks what little he has to do with a
dreamy and cantabile tone of great beauty. This brief work passes by as a dream.
Wonderful.
The main work on the disc however is the four movement Third Symphony.
This was composed during the darkest days of the Great War and is subtitled Sinfonia
brevis de Bello Gallico; indeed it does have some militaristic qualities.
The opening movement has march-like material often accompanied by the side-drum.
The finale quotes a plainchant associated with St.Michael who is the saint
often linked with battles (in heaven) and victory over oppressors. That said,
its opening is beautifully calm and impressionistic as are many other passages.
In between these glorious outer movements are first a scherzo with a curious
trio section in 5/4 time and then a dreamy slow movement with an almost Stravinskian
middle section. Despite its date of composition I found this to be an uplifting
and life-enhancing work, rather Gallic in its understated emotion. It is more
Sisley than Renoir, not really glorifying war, although there might be some
who might think so. The work, like a great deal of d’Indy, has certainly
grown on me, both in its content, its form and in its orchestration.
I’m not quite sure why an Icelandic orchestra was given the task of recording
this work. I can’t help but feel that a French orchestra with some of
those fruity woodwinds and silky horns might have been more suitable. Nevertheless
they play marvellously for Rumon Gamba the only criticism of whom is that the
marking ‘Lent et anxieux’, an expressive idea in the first movement,
comes out more like ‘Lent et béatifique’(!).
The essay I have already commented on. There are, as ever, biographical notes
on the performers but these are, as usual, as dull as ditch water.
Gary Higginson