Nocturne, et lumineux
Charles Koechlin (1867-1950)
Cello Sonata, Op. 66 (1917)
Nadia Boulanger (1887-1979)
Trois pièces (1914)
Leoš Janáček (1854-1928)
Pohádka (1910, rev. 1912-1923)
Henriëtte Bosmans (1895-1952)
Nuit calme (1926)
Francis Poulenc (1899-1963)
Cello Sonata, FP 143 (1940-1948)
Eline Hensels (cello), Daniël Kramer (piano)
rec. 2022, Westvestkerk, Schiedam, The Netherlands
TRPTK TTK0114 SACD [62]

It’s great pity that the accompanying booklet to this delightful SACD gives no information as to the thinking/game plan behind this new release, neither is there any information on the two artists who perform this fascinating programme. The notes merely give background on the music performed.

Charles Koechlin’s Cello Sonata dates from World War 1. It’s a small-scaled work cast in three short movements. I’ve previously encountered this work in a 7 CD set of the composer’s chamber music issued by SWR Music, which I reviewed in 2018. Back then I wasn’t over-enamoured, finding it “rather inconsequential”. Revisiting it, my opinion has changed somewhat, and I have begun to warm to its charms. The prevailing mood is one of contemplation and reflection. I find it quite spellbinding at times. The opener moves along at a slow pace, and the central movement has a rather complex piano part, through which the cello eloquently meanders. In the final movement the composer injects a little more forward momentum. The overall aspect is nocturnal.

Trois pièces began life in 1911 as works for organ; Boulanger transcribed them for cello and piano in 1914. They bear the titles Modéré, Sans vitesse et a l’aise and Vite et nerveusement rythmé. Although brief, they do carry a certain charm. The first radiates a luminous glow, whilst the second has a seeming simplicity. I like the third one particularly for its bouncy pizzicatos and bubbly theme which bookend a central more reflective section. It ends with a sparkling flourish.

Janáček’s Pohádka is based on an epic poem by the Russian author Vasily Zhukovsky entitled The Tale of Tsar Berendyey. To all intents and purposes it’s a sonata in all but name. Cast in three movements its halting and flurrying narrative is emotionally charged. The drama of the first movement surrenders to a more lyrical middle movement, where pizzicatos are a dominant feature. The finale is upbeat, lighthearted and waggish.

Henriëtte Bosmans’ Nuit calme is the second piece of three forming a work titled Impressions for cello and piano. It’s very redolent of Debussy in its impressionistic glow. The cello gently intones a wistful melody over a bell-like piano accompaniment.

Penned over a period of eight years, Francis Poulenc’s Cello sonata is a four-movement structure, captivating for its generous lyricism and sunny disposition. The opener is spiky and effervescent. In the Cavatine that follows a mood of calm descends. This is followed by a scherzo-like movement titled Ballabile, which means that it’s suitable for dancing. The finale begins in more serious vein, then turns frolicsome, before ending on a more subdued note.

Eline Hensels’ admirable technique, eloquent playing, shaping of phrases and rich tone bring much joy to the listener. Daniël Kramer is supportive in every way. There’s a true meeting of minds throughout, and each performance is convincing. The recording quality is superb and a perfect balance between the two instrumentalists has been struck. I can only admire this release for its excellence.

Stephen Greenbank

Availability: TRPTK