Théodore Dubois (1837-1924)
Dixtuor (1909)
Vincent d’Indy (1851-1931)
Chanson et Danses, op. 50 (1898)
André Caplet (1878-1925)
Suite Persane (1900)
Polyphonia Ensemble Berlin
rec. 2020, Saal 3, Haus des Rundfunks, Berlin
OEHMS CLASSICS OC493 [61]
A few months ago, I would not have requested a wind ensemble recording such as this. However, the enjoyment I gained from listening to the wind chamber music of Francis Poulenc has broadened my horizons, so this group of works from composers whose music I knew and liked seemed a good prospect.
By a fortunate quirk of programming, Théodore Dubois’s Dixtuor is the ideal opener for me, as it includes a string quintet to accompany the five wind instruments. Thus, it is more akin to a chamber orchestra piece than one for wind ensemble. It is a charming work that begins slowly and solemnly. It gathers momentum through the third movement Allegretto – which has an opening rhythm that brings to mind Dukas’ Sorcerer’s Apprentice – and finishes with a sprightly, but still elegant, Allegro. The blend of strings and wind works very well, with each section given its opportunity in the limelight.
With my ears attuned to the soundworld of the winds, I could approach the d’Indy with a sense of anticipation. I gained an appreciation of his music through the outstanding survey of his orchestral works on Chandos. The two movement Chanson et Danses (he clearly didn’t spend much time on the title, as the movements are titled Chanson and Danses) is scored for seven wind instruments: flute, oboe, two clarinets, two bassoons and horn. Chanson is slow, idyllic and beautifully melodic, Danses more lively as you would expect, but still retaining the flow of melodic inspiration. Not once did I wish it had strings as well. It further reinforces just how underrated d’Indy’s music is.
Caplet’s Suite Persane was inspired by the Paris World Exhibitions, and uses Persian melodies he found in an ethnological collection. It is scored for two of each of the five wind instruments. Eastern culture was of course popular at this time, and Caplet takes the music and adapts it to the Western tonal system. The blend works very well – it does not sound remotely like pastiche – and, according to the very informative notes, anticipates some aspects of French modernism, especially those used by Messaien. The final movement, which uses a love song melody simultaneously in simple and ornate forms, has passages of occasionally harsh dissonance that break into the stream of melody, but done in such a way that suggests the highs and lows of love.
Overall, this is a very enjoyable recording. None of the individual movements is longer than nine minutes, so there is never a sense of them overstaying their welcome. There is no drama anywhere here, but it is nonetheless very enjoyable listening: music with a smile. There is none of the aimless burbling that I used to associate with the few wind ensemble works I had heard in the past. The playing of the wind section of Polyphonia Ensemble Berlin seems, to my inexperienced ears, to be very good. In the Dubois, there were a few moments when the violins were a little harsher than the music seemed to require. The recording blends the instruments naturally, and there are no extraneous noises from the players or the instruments.
David Barker
