Sonate
posthume pour violon et piano (1897)
Sonate
pour violon et piano (1927)
Kaddish
Tzigane
Habanera
Berceuse
sur le nom de Gabriel Fauré
Régis
Pasquier, violin
Brigitte
Engerer, piano
1991.
Harmonia Mundi France HMC 901364 full price
What a paradox it is that music written for violin and piano, two instruments Ravel came to regard as incompatible, may prove so fascinating and beautiful.
The
first sonata, believed to have been premiered in 1897, the year of it's
composition, by Ravel at the piano and Georges Enescu, was not published
untill 1975 on the occation of the centenary of the composer's birth.
It
is in a single movement (Allegro moderato) with the indication "très
doux". One can hear certain traces in this youthful work, of Ravel's teacher
Gabriel Fauré and Cesar Franck, but also the appearing of a distinct
and individual imprint from the young composer.
The
sonata dated 1927, took several years in it's developing from sketch into
completion. It consists of three movements and is quite different
in style from the earlier one. Influences from for instance American music
are obvious and made explisit in the indication of the second movement:
Blues (moderato).
The
sonata was, as was it's elder sibling, premiered by Ravel and Enescu on
30 May 1927.
Kaddish is the first of Ravel's Deux Mélodies Hébraïques from 1914. It is a liturgical chant, a prayer for the dead, originating in the 13th century. The words of the chant being omitted, the music still profoundly carries the lamenting contents.
As the name suggests, Tzigane written in 1924 takes it's influences from gypsy music and was dedicated to the Hungarian violinist Jelly d'Aranyi, who premiered the work in both its versions (the other is orchestral). Being of such a technically demanding nature, the work, especially in it's orchestral version, is a frequent showpiece for the great virtuosos of the violin.
In the Habanera, one can witness the main ethnic influence of Ravel's music, the Spanish. The piece was originally written for two pianos in 1895, and the present transcription was made by Fritz Kreisler. This piece is one of the composer's first and one he is said to have been particularily satisfied with.
Berceuse sur le nom de Gabriel Fauré, is a tribute to the composer's great mentor, written in 1922.
These treasures of the chamber music repertoire are being brilliantly treated by the duo Pasquier and Engerer. Their dialogue is constantly challenging and probing yet eloquent. There are no pedestrian moves on this recording. Pasquier's tone is full, rounded and posesses the spicy character so important for this music. Engerer plays with and against the violin with great insight, making the dialogue between the voices at times tense and contradicting or warm and beautiful when demanded.
Be
adviced folks, chamber enthusiasts or not, listen to this delightful recording,
give it some time...- and you might just agree with me.
© 1998 arne.mork@yahoo.com
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