Voyages
Marion Ravot (harp)
rec. 2022/23, Kirche Zum Heiligen Kreuz, Berlin
Solaire SOL1014 [59]
Young French harpist Marion Ravot is one of those rising stars of the classical music world, with this release coming on top of an already distinguished CV with performances as a member of numerous international orchestras and as a soloist working with an ever-increasing list of leading chamber musicians and conductors. This debut recording is representative of her interests in widening the repertoire of the harp with new compositions and transcriptions of keyboard music.
J.S. Bach’s Third French Suite very much falls into that latter category and, as you might expect, works very nicely indeed on the harp. The lyrical lines and counterpoint are beautifully phrased and each movement is sensitively weighed and sensibly paced, inevitably flowing with a softer edge than you would hear from a harpsichord. If this were a piano you would be justified in pointing out over-use of the sustain pedal, but with the natural sound of the harp this effect is less one that blurs the notes than that of a magical aura around this familiar music.
Gabriel Fauré’s Un châtelaine en sa tour is a harp original and justly popular with its late-Romantic idiom including colourfully passionate contrasts and refined technical content, with those liquid glissandi towards the end emerging like perfumed clouds in this performance. Paul Hindemith wrote sonatas for just about everything and his Harp Sonata is typical in its expert handling of the instrument, though perhaps less so in its romantic style, blended here with the adapted conventions of a compact classical three-movement structure. Harpist Marcel Grandjany, who we encounter later in this recital, described the first movement as “a cathedral, majestic and beautiful”, with the lively second movement likened to children playing in a churchyard. The beautifully restrained third movement of this work, Lied, is prefaced by a poignant poem by Ludwig Heinrich.
Claude Debussy’s Valse romantique, originally for piano, has more of a salon style than an impressionist one, forming a nice intermezzo here in advance of Markus Reuter’s Passacaglia. This is a surprisingly intense piece, winding up tensions around the limited notes of its repeating bass line like a compressed fandango. After this excellent piece we are released back into the Baroque with some Rameau. This nicely chosen trio of exuberantly decorated and sparklingly effective pieces balances nicely with the Bach of the opening, with its affect and expressiveness forming its own mini suite. The chasing lines of L’Egyptienne make it a particular favourite.
Marcel Grandjany was born in France but became naturalised in the USA and was a leading figure in the establishment of the American harp school. His Rhapsodie is filled with impressive technique and was indeed intended as an imposing, symphonically conceived work with as many effects as Widor threw into his organ works. After these fireworks the programme concludes with a lovely transcription of Richard Strauss’ famous song Morgen!, the last of his four songs Op. 27 and composed as a wedding present to his wife Pauline.
This is a superbly played and recorded recital from a musician I am sure we shall hear more from in the future. It would have been nice to have had dates and a bit more information about the music in the sleeve notes, but with such a bewitching sound these kinds of details can be forgiven. The CD comes in a nice sturdy gatefold package with five of its eight facets taken up with photos of Marion Ravot, but this is much more than just a promotional calling card and should be in the collection of every harp player and harp enthusiast.
Dominy Clements
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Contents
Johann Sebastian Bach (1685-1750)
Französische Suite No. 3, BWV 814
Gabriel Fauré (1845-1924)
Un châtelaine en sa tour (1918)
Paul Hindemith (1895-1963)
Harfensonate (1939)
Claude Debussy (1862-1918)
Valse romantique (1890)
Markus Reuter (b.1972)
Passacaglia
Jean-Philippe Rameau (1683-1764)
Prelude aus Suite a-moll
Rondeau aus Suite D-Dur “Les Tendres plaints”
L‘Egyptienne aus Suite G-Dur
Marcel Grandjany (1891-1975)
Rhapsodie für Harfe (1921)
Richard Strauss (1864-1949)
Morgen! (1894)
