Joyeuse marche (1888) [3:40]
Overture to Gwendoline (1886) [9:23]
Habanera (1885) [4:11]
España (1883) [6:12]
Lamento (1874) [7:44]
Bourrée fantasque (orchestrated by Felix Mottl) (1897) [6:44]
Suite pastorale:Idylle, Danse Villageoise, Sous bois, Scherzo-valse (1888) [19:05]
L’Étoile:Overture and two Entr’actes (1877) [8:11]
The Roi malgré lui:Fête polonaise and Danse Slave (1887) [12:28]
Orchestre de la Suisse Romande/Neeme Järvi
rec. Victoria Hall, Geneva, Switzerland, 27-29 June 2012
CHANDOS CHSA 5122 SACD [78:42]
Chabrier’s background had not prepared him for the life of music
of which he later became part. He graduated in Law, working as a clerk
within the Ministry of the Interior (the French Home Office) and only
took up music for recreational purposes. It was exposure to Wagner that
first excited Chabrier’s interest yet the music he began to write
had no direct relevance to the source of his inspiration.
The disc’s tracks here provide a varied selection of Chabrier’s
output, España and Marche Joyeuse being the best
known. This CD contains considerable overlap with the material found
on the poorly-filled 2000 Naxos release of Chabrier yet this recording
has the edge not only in being generously filled, but in bringing forth
Järvi’s good interpretations and velvety orchestral response.
Comparing the Habanera on the two discs the dreamy quality generated
by the Suisse Romande for me is sumptuous. It may seem an exaggeration
to consider that Chabrier’s compositions underwent a change after
his visit to Spain and the resulting España in 1883, but
I think they did. After this time his works seem, to take on extra colour
and there’s a feeling of a freedom of expressive dance introduced.
One wonders what his opera, L’Etoile might have been like
had it been composed in the second period of Chabrier’s career.
L’Etoile was an early attempt at opera writing and at the
time it had been of little interest in France yet became successful
when performed in Germany. Here, its overture opening is very accessible
and could be mistaken for a ballet by Tchaikovsky. It is delightfully
frothy and vibrant in this interpretation brought to life by the Suisse
Romande orchestra.
The Suite Pastorale is lightly scored, originally conceived as
a suite for the piano that became orchestrated eight years later in
the form we have here. It shows Chabrier in a more tranquil mood. I
notice that the Idylle’s opening oddly does not begin until
9 seconds in from the track start. When it does start I find the performance
much more spirited in the Naxos version (about 10% quicker) and here
the Järvi pace disappoints. As a piece, the folksyDanse Villageoise
is rather repetitious and might have benefited had Chabrier introduced
an extra theme.
Chabrier’s opera Gwendoline is remembered from the Beecham
recording now revived on BBC Legends. A delightful reading of this robust
and powerful overture is given by Järvi with its engaging opening
of galloping horses. This reminds me of Chabrier’s fascination
with Wagner so it comes as no surprise that this overture could be Chabrier’s
re-moulding of the Valkyries and other Wagnerian themes; not quite the
same fire and brimstone, but a prelude to it, maybe.
The operatic composition Le Roi malgré luicame
late in Chabrier’s career and his adventurous Fête Polonaise
gives a deliberate twist to the Viennese tradition. In Danse Slave
Chabrier interestingly recycles earlier ideas: the swirling colours
in the piece have the unmistakable Spanish ring of España
about them. The opera might have enjoyed a successfully long run, but
it was tragically cut short by a theatre fire six days after the opening
night. Revivals in 2004, 2009 and 2012 have provided a renewed interest
in the work.
The lively notes by Roger Nicholls (English, German and French) provide
good background material on the music but sadly there is little space
left for notes on the composer. Estonian Järvi is very much at
home in the field of romantic music and throughout conducts with verve.
The Suisse Romande respond with an inclusive warmth.
Raymond J Walker
Järvi conducts with verve and the orchestra respond with an inclusive
warmth.
See also review of the 24/96 download by Dan Morgan
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