Lubos SLUKA (b.1928)
Sonata (1956/1971) [15:31]
Roger BOUTRY (b.1932)
Interférences I (1972) [9:27]
Iván ERÖD (b.1936)
Sonata Milanese (1984) [13:58]
Alexandre TANSMAN (1897-1986)
Sonatine (1952) [9:49]
Paul HINDEMITH (1895-1963)
Sonata (1938) [8:18]
Pierre-Max DUBOIS (1930-1995)
Sonatine-tango (1984) [6:13]
Maurice RAVEL (1875-1937)
Kaddish from Deux mélodies hebraïques (arr. Morelli) [5:41]
Frank Morelli (bassoon); Gilbert Kalish (piano)
rec. 22-24 May, 2012, SUNY Stony Brook, New York, USA
MSR CLASSICS MS 1458 [68:57]
This is a major release for bassoonatics and casual bassoon enthusiasts.
Frank Morelli, longtime bassoonist for the Orpheus Chamber Orchestra
— with which he recorded the Mozart concerto for DG, along
with a string of other non-solo albums like this
one — assembles a program of mostly little-known music
by little-known composers. Then he and accompanist Gilbert Kalish
play their hearts out.
Luboš Sluka’s sonata is a work of some melancholy
and considerable melodic gifts, which doesn’t easily compare
to other composers. Sluka has an original voice, one which often
sends the bassoonist singing plaintive folk-ish songs. One might
think, at times, of Janáček or Martinů or the
angular piano writing of Shostakovich on one of his least angsty
days. This was originally written for cello, but as arranged for
bassoon by the composer with a few edits by Morelli. It’s
clearly a major part of the instrument’s repertoire.
Another one is Iván Eröd’s brilliant Sonata
Milanese, so-called not because it sounds Italian or as Morelli
jokingly notes, is lightly breaded and fried, but because the
dedicatee was named Milan. Morelli is also correct to point out
that the piece features “one of the most wonderfully evocative
slow movements ever written for bassoon,” almost an understatement.
The movement reminds me of French composers like Poulenc.
Roger Boutry’s Interférences I is bluesy
and angry, like something from Charles Mingus’ Epitaph.
Modernist musical techniques and dissonant ostinatos sit alongside
the jazz moods, making for an unusual mix. Styles are also combining
in Pierre-Max Dubois’ Sonatine-Tango, a set of
four very short pieces inspired by the Argentinian dance. Alexandre
Tansman’s Sonatine is, like much of his work, neo-classical,
sardonic and Parisian all at once, especially in the winking final
scherzo.
Oh, and there are two well-known composers on the album, too.
Paul Hindemith’s sonata is highlighted by a slow movement
that combines nocturne and military march in a totally satisfying
way. There’s also a piece from Ravel’s Kaddish,
transcribed by Morelli himself and it makes a touching encore.
MSR Classics is rapidly becoming an essential record label. Their
sound quality is reliably good, as it is here, though you should
prepare for bassoon clicking sounds. Morelli and Kalish prove
to be great fits in the label’s collection of excellent
artists who only lack in name recognition. Maybe not a mainstream
release, but a terrific bassoon recital.
Brian Reinhart
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