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Albert Roussel - Complete Chamber Music - Roling, Verheij, Schonberg Qt et al (2013) [FLAC] (Brilliant 8413)

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Music : Classical : Lossless
ALBERT
ROUSSEL (1869-1937)
Complete Chamber Music

 

brilliantclassics.com:
A
rare collection: all of Roussel’s music for small ensembles. It is a mix of varied combinations; sometimes highly
unusual ones like piccolo and piano. A late starter, Roussel’s compositions mainly date from the first decades of
the twentieth century.
Composer Albert Roussel has written a relatively limited oeuvre of delightful music. His
works sound typically French and increasingly impressionistic. Then a neo-classical period followed. Somehow Roussel has
not benefited from the popularity of music by contemporary French composers.
Recordings on this release include
rarely performed music like the Aria no. 2 for Oboe and Piano, and Music from Elpénor, Poème radiophonique for
flute and string quartet (1937). Also included are the Deux poèmes de Ronsard, Op. 26, for flute and soprano.
Great performances by prominent Dutch musicians like Paul Verhey on the flute, horn player Herman Jeurissen and
cellist Herre-Jan Stegenga. 

MusicWeb-International [August 2007]:
Quote:This complete recording
of the chamber music of Albert Roussel - in chronological order - was previously issued, in the mid-1990s, on the
Olympia label (Olympia OCD 706).
The works fall fairly naturally into divisions that correspond to the three CDs.
On the first, we have the first three works listed above, covering the years from 1902 to 1908; the second CD contains
works written between 1919 and 1928; the third collects the chamber music written in the last eight years of Roussel's
life, between 1929 and 1937.
Roussel's path towards a career as a composer was a rather unorthodox one. Roussel
(who has been orphaned very young), first received piano lessons at the age of eleven; an interest in music soon
developed, but on leaving school he studied at Marine College in Brest, and went on to become a naval officer,
eventually commanding a torpedo boat in Indochina. His career at sea ended in 1894, when he resigned his commission and
he took the decision to devote himself to music. He studied in Paris, first with Eugene Gigout and, from 1898, with
Vincent d'Indy at the Schola Cantorum; he did so with such success that in 1902 he was invited to teach counterpoint at
the Schola (where one of his students was Satie). He was in the anomalous position of being both student and Professor.
Indeed, there is, perhaps unsurprisingly, a thoroughly academic quality to both the Op.2 Piano Trio and the Sonata for
piano and violin (Op.11). Both have a long-windedness that was not to remain characteristic of Roussel, whose mature
workiis more readily characterised as terse. In these two early works, it would be fair to say that Roussel the composer
has not yet found his own voice. They are the product of his teaching (whether as teacher or as taught), perfectly
'correct', and thoroughly committed to the kind of cyclic procedures of which d'Indy was an enthusiastic advocate. They
are pleasant enough - particularly the sonata - but don't really grip or intrigue in any very compelling fashion.
The 'real' Roussel is perhaps first discernable in the Divertissement for piano and wind quintet. There is more of his
rhythmic quirkiness, there are more adventurous harmonies. Essentially a rondo, structurally speaking, the contrasts
between its rapid passages and its rather dreamy slower sections makes for some deliciously crisp music, the musical
equivalent of a dry white wine. It gets an engaging performance here, its twists and turns relished, run round the
palate as it were, but nothing is lingered over excessively, nothing rushed.
After these early works Roussel's
musical attention very much switched to orchestral writing and to the composition of his opera-ballet Padmâvatî,
stimulated in part by the visit he and his wife made to India in 1909, a year after their marriage. It was only some ten
years later that Roussel began, again, to write chamber music. The oriental interests which prompted the writing of
Padmâvatî are audible in the Impromptu for harp of 1919. Roussel avoids most of the clichés of the harp music
of the time, and the three-note motif at the beginning, as it transmutes into the mildly hypnotic main theme which
succeeds it, has a distinctive quality that is peculiarly Rousselian, and also underlies most of the succeeding sections
of the Impromptu.
The two settings of Ronsard are attractive and mildly haunting, without perhaps being entirely
satisfying or especially memorable. Much more striking is Joueurs de flute. Its four short(ish) movements are dedicated
to four legendary or fictional players of the instrument: Pan, Tityrus, Krishna and, rather less well known, Monsieur de
la Péjaudie, hero of Henri de Régnier's 1920 novel La Pécheresse. The moods and materials of the four pieces
are nicely distinguished. 'Pan' (dedicated to Marcel Moyse, later to teach James Galway) has some lean melodic lines
which gradually evolve into fuller statement, while never losing the dignity of Pan's status as a divinity; 'Tityre'
(dedicated to another important flautist, Gaston Blanquart) is a short, quasi rustic dance, befitting Tityrus' station
as a shepherd (however poetic) in Virgil's Eclogues. 'Krishna', in 7/8 and using an Indian mode ('Shri'), is
bewitchingly sensuous and languorous, the interplay of flute and piano particularly lovely ('Krishna was dedicated to
Louis Fleury, flautist at its first performance in Paris in 1925); the brief 'M. de la Péjaudie' (dedicated to
Philippe Gaubert) has a rather less timeless quality, and speaks much more directly of the early twentieth century, not
least in its bustle and seeming uncertainty of tone and direction. Paul Verhey and Jet Röling give an eloquent and
persuasive performance of this excellent suite.
The second Sonata for Piano and Violin is certainly more rewarding
than its predecessor. Its opening allegro con moto has a sense of drama and insistent expressiveness, while the central
Andante is quietly beautiful, fusing grace and terseness in a manner which is the very essence of Roussel and, perhaps
also typical, not entirely without moments of darkness too. The Presto which closes the Sonata is a concise dance, of
sorts, drily witty and sharp. The performing partnership of Kantorow and Röling works very well together, some of
Kantorow's phrasing and variety of tone being especially pleasing.
Roussel's Segovia is an attractive musical
tribute to the great guitarist, and Jan Goudswaard conveys much of its charm, but his performance is somewhat
compromised by a less than vivid recorded sound. A shame, especially as the recorded sound is generally good on these
three discs. Certainly there are no sound problems in the Op.30 Serenade. Indeed, the recorded sound lets us hear very
well what Roussel makes of his unusual combination of instruments. The Serenade is one of Roussel's finest works. The
initial allegro has a kind of impudent and easy panache, the instrumental colours filling in around and behind the flute
with an almost conversational ease; the slow movement has an air of mystery, of a vaguely tropical (Indian?) sensuality
which seems more religious than sexual; there is more direct eroticism in the final movement, with its opening and
closing dance rhythms (which could have borne a bit more incisive aggression in the performing) framing a central
section in which all energy seems exhausted, all senses fulfilled. As with a few of the pieces on this set, the Serenade
perhaps doesn't get the very best performance it has ever had, but it gets an intelligent, accomplished reading, well
worth hearing by those who know the work well and admirably suited as an introduction for those who don't.
The Duo
for bassoon and double bass is altogether slighter, but good fun. It was written for Koussevitzky (a virtuoso of the
double bass) on the occasion of his being made a member of the Legion d'honneur. It is a playful piece which enjoys the
improbable combination of instruments and the sonorities available through it. The Aria No.2, an arrangement for oboe
and piano, made by Arthur Hoérée, of one of the Vocalises written by Roussel for voice and piano, is pleasantly
lyrical, even if not a work of any great substance.
On the third CD there are a few pieces which are, for one
reason or another, do not make especially significant contributions to the body of Roussel's work. Pipe was written as
an instructional piece for the recorder and is a pretty slight affair; Elpénor was written as part of a radio
programme, designed to complement poems by Joseph Weterings and heard as a suite it is somewhat meandering, certainly by
the tight formal standards one comes to expect from the mature Roussel. The Andante and Scherzo for flute and piano
don't find Roussel writing as well for the flute as he usually does. The andante from the Wind Trio left unfinished at
Roussel's death is perhaps more of a curiosity than anything else. Elsewhere there are works of rather more gravity.
Roussel's only String Quartet is a minor masterpiece of concision, and gets an excellent performance from the
Schönberg Quartet, played as it is with fine judgement of tempo and dynamics and with real commitment. I am surprised
that we don't hear this quartet more often; apart from its own intrinsic merits, its relative brevity would surely make
it useful balance in quartet recitals built around a couple of longer works. There are some acerbic yet engaging
passages in the opening allegro, an attractively worked out sonata; the adagio has real weight and suggestiveness and
the both the scherzo of the third movement and the partially fugal final movement are full of compressed and thoughtful
music.
Members of the Schönberg Quartet are on hand again in a fine account of the String Trio, the last work
Roussel completed, barely a month before his death (he had a good deal of ill health in the last ten years of his life).
It isn't, I think, only the advantage of hindsight that persuades one of the presence of a kind of haunted pain in much
of this trio; the allegro seems more a ghost of previous Rousselian allegros, lacking the sheer substance of the 'real'
thing; the long and marvellous central adagio is at times disturbingly poignant, at times marked by a kind of wistful
resignation; the closing scherzo teeters on the edge of the grotesque, its elegance distorted into a kind of macabre
dance. The String Trio is quite a powerful work, in a somewhat discomforting manner, the work, surely, of a composer who
knew he hadn't long to live. The other work of substance on this third disc, the 1929 Trio for flute, viola and cello is
altogether less troubled. Its three movements are models of Roussel's neoclassicism, etched like figures on a frieze,
the edges clear, the statements aphoristic. After the slightly false start of his very early work, Roussel developed as
a composer who hardly ever wasted a note; he says enough and no more. His music isn't to all tastes and certainly it is
rarely music that invites self-indulgence on the listener's part, any more than it is ever self-indulgently written.
This attractively packaged set is a convenient assemblage of Roussel's work in the field of chamber music, a sequence
of works characterised by the acute, even astringent, intelligence that has gone into their writing and the distinctive
beauty of at least some of the results. In some cases better performances of individual works can be found; but there is
nothing here that isn't at the very least assured and accomplished. Either as an invitation to get to know one aspect of
the work of a composer who still seems to me rather underrated, or as a 'library' set, or as a genuine source of musical
pleasure, this is a reissue much to be welcomed. --Glyn Pursglove

CD1 [67'14]
Piano Trio in E-Flat
Major, Op. 2
01. I. Modéré, sans lenteur - Très animé
02. II. Lent
03. III. Très lent -
Vif et gaiement
Divertissement, Op. 6, for wind quintet and piano
04. Animé - Lent - Animé
Sonata
No. 1 in D Minor for Piano and Violin, Op. 11
05. I. Lent - Très animé - Lent
06. II. Assez animé -
Très lent - Assez animé
07. III. Très animé - Très modéré - Très animé

Jet
Röling, piano
Jean-Jacques Kantorow, violin
Herre-Jan Stegenga, cello
Paul Verheij, flute
Hans
Roerade, oboe
Frank van den Brink, clarinet
Herman Jeurissen, horn
Jos de Lange, bassoon

CD2
[64'56]
01. Impromptu, Op. 21, for harp solo
Deux poèmes de Ronsard, Op. 26, for flute and soprano
02.
I. Rossignol, mon mignon
03. II. Ciel, aer et vens
Joueurs de flûte, Op. 27, for flute and piano
04.
I. Pan
05. II. Tityre
06. III. Krishna
07. IV. M. de la Péjaudie
Sonata No. 2 Op. 28, for piano
and violin
08. I. Allegro con moto
09. II. Andante
10. III. Presto
11. Segovía, Op. 29, for
guitar
Sérénade, Op. 30, for flute, string trio and harp
12. I. Allegro
13. II. Andante
14.
III. Presto
15. Duo for bassoon and double bass
16. Aria No. 2, for oboe and piano

Irene Maessen,
soprano
Paul Verheij, flute
Hans Roerade, oboe
Jos de Lange, bassoon
Jet Röling, piano
Erika
Waardenburg, harp
Jan Goudswaard, guitar
Jean-Jacques Kantorow, violin
Quirijn van Regteren Altena,
double bass
Members of the Schönberg Quartet:
• Janneke van der Meer, violin
• Henk
Guittart, viola
• Viola de Hoog, cello

CD3 [66'47]
Trio, Op. 40 for flute, viola and cello
01. I. Allegro grazioso
02. II. Andante
03. III. Allegro non troppo
String Quartet, Op. 45
04. I.
Allegro
05. II. Adagio
06. III. Allegro vivo
07. IV. Allegro moderato
08. Andante and Scherzo, Op.
51, for flute and piano
09. Pipe for piccolo and piano
String Trio, Op. 58
10. I. Allegro moderato
11. II. Adagio
12. III. Allegro con spirito
Music from Elpénor, Poème radiophonique, Op. 59, for flute
and string quartet
13. I. Prélude Lent - Très animé
14. II. Modéré
15. III. Lent
16.
IV. Très animé
17. Andante from an unfinished Wind Trio, for oboe, clarinet and bassoon - Adagio

Paul Verheij, flute	
Hans Roerade, oboe	
Frank van den Brink, clarinet
Jos de Lange, bassoon	
Jet
Röling, piano	
Herre-Jan Stegenga, cello
Schönberg Quartet:
• Janneke van der Meer, violin
• Wim de Jong, violin
• Henk Guittart, viola
• Viola de Hoog, cello

Recording:
April, June & December 1994, Old Catholic Church, Delft, The Netherlands
Producer: Theo Muller
Recording
engineer: Peter Nicholls
Licensed from Olympia Compact Discs, UK
© 2013 Brilliant Classics
8413                                                             

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