Claude DEBUSSY (1862-1918)
Suite Bergamasque (1890-91, rev.1905) [16:47]
Première Rhapsodie (1909-10) [7:57]
Prélude à l'après-midi d'un faune (1891-94) [9:30]
Cello Sonata in D minor (1915) [11:01]
Violin Sonata in G minor (1916-17) [14:09]
Messiaen Quartet Copenhagen (Malin William-Olsson (violin), Carl-Oscar Østerlind (cello), Kristoffer Hyldig (piano), Viktor Wennesz (clarinet))
rec. 23-25 May 2018, Unitarernes Hus, Copenhagen
DANACORD DACOCD842 [59:47]
Danacord’s online advertising blurb states that the ‘critically acclaimed Copenhagen Quartet’ presents ‘a selection of rare chamber music by Debussy [including] the Sonatas for violin and for cello plus never [heard] before arrangements of an orchestral work [which] will create great interest among all the lovers of the French master composer’, so I am not quite sure why the Suite Bergamasque for piano solo is included, as it seems a little out of place with the ethos of the disc. I know that it is a potboiler, and at least ‘Clair de lune’ is often heard on Classic FM. The entire Suite (nearly 17 minutes) is well performed here and often magical in effect. It adds to the 77 other versions of the entire Suite, and 377 recordings of ‘Clair de Lune’ cited on the Arkiv Catalogue.
The Première Rhapsodie (1909-10) is a delightful piece. I imagine that if it were heard with a totally innocent ear, many listeners would not guess the composer. Debussy was proud of this Rhapsodie and felt that it was one of the ‘most pleasing pieces he had ever written.’ It was produced for academic purposes, having been commissioned by the Paris Conservatoire as a test piece for their annual examinations. There is nothing ‘pedantic’ in the sound or performance of this work; Debussy does not deprive this music of ‘artistic excellence’. As the title implies, it was conceived in a free style, which presents ever-changing moods. The work is a successful balance between technical virtuosity and touching poetry, all ably realised here.
I am not convinced by the chamber ensemble arrangement of the Prélude à l'après-midi d'un faune. I have known this work in its orchestral form for nearly fifty years, and it remains a perennial favourite. It is one of Debussy’s most popular orchestral works and is critically regarded as being a ‘game-changer’ in the history of music. Several transcriptions of this piece have been made over the years, including the composer’s own version for two pianos (1895). There are arrangements for flute and piano and the ‘Pierrot Ensemble’ of flute, clarinet, violin and cello. I guess the present reworking by Carl-Oscar Østerlind and Kristoffer Hyldig is in this category. The liner notes explain that ‘it was important to try to take the music to a different place, rather than replicating the orchestral score.’ It is an enjoyable and interesting account, with many magical moments, but I am not sure that it makes essential listening.
I have never really ‘got into’ Debussy’s three ‘late’ Sonatas: Flute, Viola and Harp, Cello and Violin. Yet, every time I hear them, I feel I ought to study them in more detail. All are remarkable works that explore a novel balance between Romanticism and a new classical purity and poise. Debussy looked back beyond Germanic composer such as Beethoven and Schumann to his French compatriots Rameau, Leclair and Couperin. Certainly, there is little sign of his trademark Impressionism although he does utilise the whole tone and pentatonic scales.
The Cello Sonata may reflect the composer’s illness: he had an operation for cancer which left him depressed and debilitated. In addition, the progress of the war was having an emotional impact on him; he was concerned that French culture would be overwhelmed by that of Germany. The overall mood of the cello sonata is one of melancholy, but with many imaginative moments which nod towards Stravinsky and jazz. Scholars have debated whether the music evokes the Italian Commedia dell'arte. The Sonata was (apparently) originally called ‘Pierrot is angry at the moon’; indeed, there are moments of sarcasm and facetiousness in this score. Ernest Newman described the work’s progress as ‘consisting mostly of fog opening now and then and giving us a momentarily glimpse of [a] ravishingly beautiful country.’ I see his point, but listening to this present performance convinces me that this piece is a ‘progressive’ masterpiece always full of interest.
The Violin Sonata was completed in 1917 and was Debussy’s last major work. I think it is closer to ‘sonata’ form than the Cello Sonata, despite the music often displaying a tentative and even improvisatory mood. Once again, influences would appear to include Stravinsky and possible self-referencing from Ibéria and ‘La flûte de Pan.’ The work reveals its character slowly, and only after repeated hearings. This opportunity would seem to be something denied to most listeners. One commentator suggested that it would only ‘evoke the politer sort of applause’ in the recital room. The liner notes imply that there is something of Schoenberg’s ‘air from another planet’ in several passages of this Sonata. This near-final work by the French maestro was pushing the boundaries of his style to a place far beyond the well-loved idyll of ‘Claire de Lune.’
The playing on this disc is superb, from the first to the last note. The recording is outstanding, as I would expect from the engineers at Danacord. The booklet by Andrew Mellor is ideal and provides contextual detail for these works.
The duration of this CD is a little bit skimpy. Bearing in mind that there are several more chamber works which could have been included, I think that the Messiaen Quartet have missed an opportunity. I would have gone for the early Trio for piano and strings in G major, the Nocturne and Scherzo for cello and piano and the genuinely rarely heard Petite pièce for clarinet and piano. Finally, as implied above, was there really a need to include yet another recording of the Suite Bergamasque?
John France
