Albert Roussel (1869-1937)
Violin Sonata No 1 in D minor, Op 11 (1907-08 rev.1931)
Violin Sonata No 2 in A major, Op 28 (1924)
String Trio, Op 58 (1937)
David Bowlin (violin), Tony Cho (piano), Kirsten Docter (viola), Dmitry Kouzov (cello)
rec. 2023, Clonick Hall, Oberlin Conservatory of Music, Ohio USA
Naxos 8.574577 [60]
I have enjoyed the music of Albert Roussel for many years, but curiously until now I have never heard the two violin sonatas. The catalogue offers various recordings of his works for/with orchestra, but a quick look online suggests that there is only one other reasonably available – a three disc survey of Roussel’s complete chamber music on Brilliant – that includes both sonatas. Another interesting Brilliant set – a 7 disc survey of French violin sonatas – includes the first sonata alone.
Even without ready comparisons or prior knowledge of the repertoire, this new disc is plainly excellent. Violinist David Bowlin and pianist Tony Cho play with evident technique, sensibility and stylish skill. Especially notable is how both players perform with a light, articulate touch that really suits this early 20th Century French music – rapiers rather than broadswords being a good analogy. The disc is presented in logical and useful chronological order. Useful because it allows the listener to follow Roussel’s development from neo-Romantic with Wagnerian and Franckian influence via a kind of exotic impressionism (not represented on this disc’s music) to the muscular neo-classicism that seems to be his most authentic voice. Violin Sonata No 1 in D minor, Op 11 is a very substantial work. In three movements, it runs on this disc to 32:13. The back of the Naxos CD case describes the work as “an epic journey of soaring majesty” which is perhaps rather too hyperbolic, but it is certainly an impressive work if more memorable for it musical gestures than melodic richness. From the opening bars I enjoyed Bowlin’s fast slightly febrile vibrato and focused tone, with the balance – both technical and expressive – between the two instruments extremely well managed by engineer Andrew Tripp with Bowlin acting as producer as well. This work was originally written in 1907-08 [and revised in 1931] which places it between Symphony No 1 in D minor ‘The Poem of the Forest‘, Op 7 (1904–1906) and Evocations, for orchestra, mezzo-soprano, tenor, baritone and chorus, Op 15 (1910–11). In the symphony, Roussel showed the direct influence of Franck that carries over into this sonata before the impressionistic atmosphere of Evocations, so a sense of a composer still seeking his way.
Even after several listenings I must admit to not being very certain of exactly what Roussel is trying to say. In direct contrast, the Sonata No 2 in A major, Op 28 is not only considerably more concentrated – just 14:40 in total across its three movements – but the voice of the composer is far more individual and clear. But that said, Bowlin and Cho play the earlier work with tremendous commitment and involvement. Listen to the grace and elegance of their playing in the second movement, Assez animé – it really is a model of how to play this type of music with ease and poise. In compositional terms, the work’s closing pages sound rather effortful (not in this performance mind). Roussel strives for one final “big finish” in a way that is reminiscent of the end of the second movement of The Poem of the Forest – Renouveau. Perhaps the presence of a full orchestra allows Roussel a greater sense of arrival than he achieves here.
This sense of something lacking is underlined by the fiery opening of Sonata No 2 which follows immediately. Here can be heard the muscular objective voice that would become familiar in the later symphonies and chamber works. Roussel makes considerable technical demands of the players here, too. His angular writing is rarely grateful for the violin, but in this second sonata he writes some ferociously hard precipitous passage work that is so hard to make sound as light and airy and clean as Bowlin does here [track 4 – around 3:00]. The central Andante reveals one of Roussel’s purest, almost austere creations. Gone are the excess gestures of the first sonata and in its place a near minimalist amount of musical texture slowly builds and expands to a powerful climax. Unlike many of his French contemporaries, Roussel is rarely playful or explicitly witty. This is music that takes its pleasure in the energy and dynamism it generates, but it is athletic rather than emotional. The closing Presto is a case in point – genuinely brilliant and exciting and given a stunning performance here, but there is an emotional detachment that becomes a recurring characteristic of this composer’s music.
This is evident to an even greater degree in the String Trio, Op 58 which was the last work he completed – he died just four months after its premiere on April 4th 1937. Richard Whitehouse in his brief but informative note sums it up as; “exemplify[ing] those qualities of concision and asceticism found in the composer’s later work”. Bowlin is joined by Kirsten Docter on viola and Dmitry Kouzov on cello, who again prove to be fine and sensitive colleagues. Kouzov’s cello is placed centrally between the two upper strings, which is another simple but intelligent and effective choice by separating the two upper voices, thereby allowing the ear to hear more clearly the contrapuntal writing. Whitehouse refers to Roussel’s use of motifs rather than themes and again this is very true. He was never a composer to create long, expansive melodies, which in part perhaps explains the stylistic conflict of the first sonata. And so here in his final work can be heard his ultimate expression of his terse treatment of musical cells. The ‘price’ for such an approach is music that ultimately appeals more to the head than the heart. The trio of players is very fine indeed at laying out the intricate sophistication of the writing with music making of ideal clarity and unanimity.
If, like me, you enjoy the range and diversity of Roussel’s orchestral music, you will find much of the same style and compositional brilliance on display here. This proved to be an hour well-spent in the company of these fine musicians.
Nick Barnard
Buying this recording via a link below generates revenue for MWI and helps us keep free access to the site
