Florent SCHMITT (1870-1958)
Music for Two Pianos
Le petit elfe - Ferme-l’oeil – Une semaine dansée, Op.73 (1912/1923-24)
(arr De’Ath) [40:07]
La tragédie de Salomé, Op.50 (1907/1910-11) [27:09]
Reflets d’Allemagne: Huit valses, Op.28 (1906) [13:35]
J’entends dans le lointain ... Op.64, No.1 (1917/1929) [12:10]
Étude pour le Palais hanté d’Edgar Poe, Op.49 (1900-04/1909) [13:43]
Trois rapsodies, Op.53 (1903-04) [20:01]
Leslie De’Ath (piano); Anya Alexeyev (piano); Kimberly Barber (mezzo); James
Mason (oboe)
Includes World Premiere Recordings (in these versions)
rec. Maureen Forrester Recital Hall, Faculty of Music, Wilfrid Laurier University,
Waterloo, Ontario, Canada, 17 December 2010, 22 February 2011, 9 May 2011
DUTTON EPOCH INTERNATIONAL CDLX 7273 [67:16 + 59:09]
Schmitt is of that cursed generation of French composers whose music has been
occluded by the genius of Ravel and Debussy. This happened in much the same
way that Kuula and Madetoja struggled to get out from beneath the shadow cast
by Sibelius long after his silence began; indeed long after he died. There
is plenty more Schmitt to come and the most direly needed is his later masterpiece
for cello and orchestra the Introit, Récit et Congé. How long, O Lord?
Meantime this attractive two-disc recital for two pianos emerges courtesy
of long-time Schmitt champion Leslie
De'ath whose Dutton series of the Scott piano music has a special niche
in the catalogue. The fourteen character miniatures that make up Le petit
elfe ferme l'oeil are given a spirited outing. They move with ease between
skilled jaunty light salon material to pages of elusive strangeness as in
the case of D'allure decidée with its awkward hiccupping dissonances
reminiscent of the music of Raymond Loucheur recently encountered in the Forgotten
Records catalogue (FR374). This Hopfrog oddity takes us onto the same
magically and slightly Russian-nationalistic limb as Ravel's Mère l'oye
and pushes the listener out towards the world of Stravinsky's Rite
and Petrushka. De'ath, in his fine and full notes, refers to the linkage
with Ravel's L’enfant et les sortilèges. Exotic nationalist dances
such as Le parapluie chinois recall the oriental impressionism of James
Friskin’s still unrecorded oriental piano suites and Holbrooke's second piano
concerto L’Orient. In the same vein we then hear the five movements
of La Tragédie de Salomé which muses gloomily and then erotically.
It then makes links with Rimsky’s exultant Antar. The great melody
is tellingly tolled out by these two artists. The possessed battering barbarity
of Danse des Eclairs and Danse de l'effroi is suitably ruthless
and spikily assaulting. James Mason's oboe makes an admirably atmospheric
contribution in Les enchantements sur la mer and mezzo Kimberley Barber’s
vocalise in Chanson de la Nourrice is lovely.
CD 2 opens with a German travelogue or set of postcards with eight cities
portrayed in waltz form. These are lighter than the material on CD 1 but by
no means inconsequential. Heidelberg is pretty determined and serious.
Koblenz is closer to the Straussian waltz - more carefree. Lübeck
is deliciously light on the aural palate. Werder is affectionate and
even Brahmsian. Vienne is a grave waltz with flashing lightning and
rumbling thunder-strikes. Dresden is urbane: quite the man about town
and much the same can be said of Nuremberg where Schmitt saunters confidently
along with twirling malacca cane. Munich is yet more decorative.
From another world comes the masterful J'entends dans le lointain from
1917-1929. It's one of Schmitt's most oblique and troubled pieces - with deep
waters profoundly stirred. It’s effect is rather like that of the troublous
realm established in Bax's Winter Waters and The Devil that tempted
St Anthony - the latter also for two pianos. The Poe-inspired Etude
pour Le Palais Hanté has a derivation from the Mallarmé translation of
Poe’s words. There is a romantically-charged theme that strives for primacy
above the stormy and struggle. After this we are returned to the lighter illustrative
world of the Reflets d'Allemagne with the Godowsky-style indulgences
of the Trois rapsodies.
Refreshing stuff adding with éclat to the diversely populated world of Florent
Schmitt.
Rob Barnett
Refreshing stuff adding with real éclat to the diversely populated world of
Florent Schmitt.