Théodore Dubois: A Romantic Voice Rediscovered

 

Théodore Dubois was a major force in French music at the turn of the 20th Century. He had won the Prix de Rome in 1864, establishing his reputation as a composer. He was organist at several major churches in Paris. And eventually Dubois became director of the Paris Conservatoire. 

Dubois' ambition was to write opera. Most of them were either unperformed, or had very short runs. In the meantime, he amassed an impressive body of work in other genres. 

This release features several chamber works by Dubois. They show a composer with a gift for melody and a talent for organizing his material.

The Piano Quintet in F major is a good example. Traditional piano quintets are comprised of a piano plus a string quartet. Dubois substitutes an oboe for one of the violins. This creates a wider timbre palette that Dubois exploits. 

The album's other major composition is the 1909 String Quartet No. 1. Dubois writes idiomatically for the strings. The work flows effortlessly along as an animated conversation between four friends. 

Contemporaries judged Dubois to be a skilled composer, if not an especially original one. That might be a little unfair. His musical language is that of the late Romantic period. 

It doesn't upend harmonies like Debussy. But neither does it sound like an inferior imitation of someone else. 

Dubois's crime seems to be just that he colored within the lines. But the colors he chose elevate his music above the ordinary. 

The works on this release feature some unusual instrumental combinations. Unusual but effective combinations. 

The assembled musicians deliver nuanced, committed performances. They help make the case that this music needs to be heard. 

If you enjoy the music of French masters such as Massenet and Saint-Saens, give Dubois a listen. It's music worth exploring. 

Théodore Dubois: Chamber Music
Lajos Lencsés, oboe; Carole Dubois, piano; Antal Váradi, organ; Renie Yamahata, harp; Quatuor Parisii; Budapest Strings
Toccata Classics No: TOCC0362

Seasons Greetings from Franz Liszt!

Franz Liszt wrote a lot of piano music. Naxos is committed to recording his complete solo piano oeuvre. Their most recent release is volume 63. And the series isn't over. 

In these 63 (and counting) volumes are many great works. And many more pretty good ones. And all are worthy of a listen or two.

After all, marginal piano music by Franz Liszt is still better than many composers' best. This release caught my attention because of the seasonal main work. 

In 1873 Liszt composed Weihnachstbaum. This suite of 12 movements was composed for both solo piano and piano four-hands. 

It's not a very demanding work technically. But it wasn't meant to be. Liszt wrote it for his granddaughter Daniela von Bülow. He first performed it for her on Christmas Day, 1881. The work quotes several Christmas carols.  Some of these are familiar to modern audiences.

Liszt isn't trying to dazzle audiences with this 22-minute suite. He's expressing some heartfelt emotion for his family, And it's absolutely charming. 

Wojciech Walczek has the chops to play Liszt's knuckle-busters. But he dials it back. We get a performance that's sensitive and warm. I'll be adding this to my classical holiday playlists. And you'll definitely be hearing it on my radio program. 

Seasons greetings from Franz Liszt!  

Franz Liszt: Weihnachtsbaum (Christmas Tree)
Complete Piano Music, volume 63
Wojciech Waleczek, piano
Naxos 8.574380

Auber Overtures, Volume 7 - More Than Just Openers

I like Naxos' willingness to explore new repertoire. One of the things I like about the Naxos label is their willingness to explore new repertoire. And even go down a rabbit hole or two. 

It's what I'd do if I ran a label (although with my business sense, I'd run in straight into the ground. Case in point: the Auber Overtures series. 

Dario Salvi is the creative force behind these recordings. According to his bio, he has a "passion for the rediscovery and performance of long-forgotten masterpieces and the curation of world premieres."

 He's recorded more than Auber for the label. All his albums maintain a high standard of performance. And all benefit from innovative programming.

Auber wrote over fifty operas. If Salvi just recorded the overtures (as the title suggests), the series would span several volumes. But he goes deeper into the composer's catalog. Each volume supplements the overtures with instrumental music from the operas. 

Some present other compositions by Auber. This release includes ballets and marches from the featured operas. 

The album leads with the overture to Le cheval de bronze. Auber completed the work in 1835. For performances at the Paris Opera in 1857 he added a ballet. That music is included as well. 

Also included is an arrangement of the overture by Englebert Humperdink. Comparing the two versions of the overture provides insight into both composers' styles. Humperdink gives Auber's French music a heavier German orchestration. It doesn't ruin the music. But it does change the character of it (and not in a bad way). 

The Janacek Philharmonic Ostrava is in fine form here. Under Salvi's direction, they play with a light-hearted elegance fitting the fairy operas. And they can also deliver some dramatic thundering when necessary. 

Including additional music from the operas has slowed Salvi's traversal of the overtures. But these recordings are about the journey, not the destination. These ballets and incidental music show Auber's genius. His orchestrations set the stage and tell the story -- in music, not words. Another fine addition to this edition. 

Daniel-François-Esprit Auber: Overtures, Volume 7
Le Cheval de bronze; Le Lac des fées; Marco Spada; Jenny Bell; Das eherne Pferd
Janacek Philharmonic Ostrava; Dario Salvi, conductor
Naxos 8.574597

David Leisner Charms with New Album

Seldom has a classical album been more appropriately named. "Charms to Soothe" delivers on its promise. Guitarist David Leisner presents a program of favorite 19th-century guitar works. And without exception, they are a delight. The program mixes music by familiar composers and lesser-known virtuosi. 

Touring instrumental virtuosi of the 1800s were often composers. They primarily wrote music for themselves to play in concert. They also wrote instructional guides to further the artistry of their instruments. Fernando Sor and Mauro Giuliani were two such artists. And their music has remained in the guitar repertoire since it was introduced. 

Leisner presents a few composers whose reputations didn't survive. Johann Kaspar Mertz was a contemporary of Giuliani. He toured mostly in Eastern Europe and Russia. Merz' wife was a concert pianist, and he may have drawn inspiration from the music she played. Included here are two selections from Bardenklänge, Op. 13. One is titled "Lied Ohne Worte," which suggests at least a nod to Mendelssohn.

Giulio Regondi was a Swiss guitarist who spent most of his life in London. His Études for guitar are perhaps his best-known pieces. And while they do have their challenges, they're also enjoyable to listen to. Another London-based guitarist was Leonard Schulz. Most of his music has been lost, but his 12 Studies, Op. 40 survive. They're well-crafted and deceptively complex works. 

All the selections are favorites of Leisner. His talent could easily carry him through the challenges of these works. But there's more going on here. Leisner shows his affection for this music in his playing. The melodies do more than sing, they emote. These are intimate performances. And ones that both charm and engage (well, at least they did for me). 

Well-recorded, and superbly performed. If you'd like to spend time with a friend sharing some of his favorite music get this release. It does indeed have charms to soothe.

Charms to Soothe: 19th Century Music for Guitar
David Leisner, guitar
Azica Records ACD-71368

Yoojung Kim Connects With Scriabin Sonatas

Yoojung Kim delivers an impressive recital recording. Alexander Scriabin is a favorite composer among pianists. He was a massively talented player himself, and over 85% of his published works are for solo piano. His music is rewarding to perform -- and to listen to.

But Scriabin was also an innovator. He kept pushing the limits of tonality, and in the process created his own musical world. There's a strong internal logic in that world, albeit not always obvious. It takes exceptional musicality to plumb the depths of Scriabin's music -- especially his sonatas.

Yoojung Kim is such a talent. Her technique is first-rate ( I'd hardly expect less from a Bridge recording artist). And she uses that technique to reveal the layers of Scriabin's music. She plays his cross-rhythms with incredible accuracy. They enhance the interplay of the lines, making them easier to understand.

The centerpiece of the recital is the three sonatas. The second sonata from 1897 is titled a "Sonata-Fantasy." It shows Scriabin moving away from the traditions of the form. he wrote the Third Sonata, "États d'âme" (Mood) a year later. In it, Scriabin's musical world is more fully developed. And with Sonata No. 4, he arrived at the beginning of his mystical period. 

Kim draws connections between these works. Her performances trace the development of Scriabin's musical thought.

This is a terrific album. And Kim is greatly served by the Bridge recording team. As always, the recorded piano sound is natural. The balance between ambiance and clarity is perfect.

Alexander Scriabin: Piano Sonatas 2, 3, and 4
Fantaisie, Op. 28; Poemes, Op. 32, 63
Morceaux, Op. 57; Vers la flamme, Op. 72
Yoojung Kim, piano
Bridge Records 9578