Déodat de Séverac (1872-1921)
Baigneuses au soleil (Souvenir de Banyuls-sur-mer) (1908)
Cerdaña, Cinq Études pittoresques (1908-1911)
En Languedoc, Suite pour piano (1903-1904)
Serena Valluzzi (piano)
rec. 2024, DiG Area Studios, Molfetta (BA), Italy
Piano Classics PCL10276 [75]
One commentator gave a good rule of thumb for appreciating Séverac’s music: it portrays the landscape, the folk music and the people of his Languedoc homeland, and Catalonia and the Spanish Pyrenees, reflected through the prism of urbane Paris. That meant the Impressionist movement, and the composer’s contemporaries such as Debussy and Ravel.
Baigneuses au soleil (Souvenir de Banyuls-sur-mer) dedicated to the French pianist Alfred Cortotwas originally meant to be part of the Cerdaña Études, but was published as an “isolated piece”. It is said to conjure naked women lying in the sun and bathing in the Mediterranean. It is really a perfect study in impressionism, with warmth, water, waves and sparkling reflections. The liner notes correctly say that despite certain obvious nods to Debussy, this is not an imitation, but a development of Séverac’s own style of impressionism. This redolent work concludes with just a hint of twilight shadow.
The title of Cerdaña, Cinq Étude pittoresques alludes to one of the historical counties of Catalonia. The five studies together last for more than half an hour. En Tartane: l’arrivée en Cerdagne conjures a two-wheeled, mule-drawn wagon as used in Catalonia arriving in the district. Sévérac has mimicked the “light trot” and a rattle snake in the score! Yet this activity is bookended by a cool evocation of the Pyrenees mountains.
Les Fêtes (Souvenir de Puigcerda) opens quietly, but develops into a fandango; several charming episodes celebrate the village fair. The score notes “A Delightful Encounter”, “Carabineros” (militia) and “Where one finds dear [Laura] Albeniz”. The number, with its huge contrasts, ends quietly as night approaches.
The long-titled Ménétriers et Glaneuses (Souvenir d’un pèlerinage à Font-Romeu) suggests a rustic band of ‘Fiddlers and Gleaners’, and Catalonian women on their knees in prayer. Wide variety also characterisesf Les Muletiers devant le Christ de Llivia. Here we find supressed power subtly juxtaposed with the drivers’ reaction to the “sorrowful image”. It is the heart of this suite. In Le retour des muletiers,the proud riders are returning home, lively, now divorced from devotion, with just the occasional moment of reflection.
This long work, difficult to play, requires skilled presentation to avoid losing the plot. Serena Valluzzi’s magical performance always holds the attention.
The suite En Languedoc is from Séverac’s student days at the Schola Cantorum in Paris. It is another long composition, over half an hour. Historically, Languedoc-Roussillon was the coastal region in southern France, extending from Provence to the Pyrenees and the border with Spain. It is now part of Occitanie.
Vers le mas en fête (Towards the festive farmhouse) paints a picture of a journey home, passing a torrent, stopping at a fountain and eventual arrival at the house. Debussy is to the fore here as an influence, but also Ravel. Sur l’etang, le soir (On the pond in the evening) is deliberately soporific. The liner notes suggest that the “crepuscular rustlings, the lazy sparkles” evoked, have an affinity with Chabrier.
The rapid third number, A cheval dans la prairie (On horseback in the prairie), plays upon musical onomatopoeia, complete with the horse pawing the ground before departure and a “brisk gallop, rhythmic pace, [and] pause in the shade…” Yet, it can be heard as a satisfying ‘toccata’ without any programme.
There is definite fascination in Coin de cimetière, au printemps (A corner of the cemetery in spring). It fuses religious meditation with romantic love recalled, before falling into quiet resignation. It is an incredibly beautiful piece. The finale, Le jour de la foire, au mas (Fair day at the farmstead) is a picture of the country fair, with bells, dances and “the hesitant steps of drunks”. Amongst the merriment, the Angelus is heard from afar… The entire work is performed here with distinction, love and creativity.
Italian Pianist Serena Valluzzi, born in Gioia del Colle, began her musical formation at the age of four. She graduated from the Conservatorio “N. Piccinni” in Bari at seventeen, and continued her studies with several renowned pianists. She has won numerous awards including the “A. Speranza” International Piano Competition, and the Alkan Prize for piano virtuosity. She has performed throughout the world, including Brazil and the United States. Currently, Serena Valluzzi teaches principal piano at the U. Giordano Conservatory of Music in Foggia, Italy.
Luca Ciammarughi’s helpful liner notes in English give a good introduction to the composer and music. There is a short resume and four photographs of the artist.
The repertoire on this disc is a testament to Déodat de Séverac’s ability to present many emotions musically, often tumbling over each other, from joy to sadness, but always tinged with reflection and optimism. This must be reflected in any performance. Serena Valluzzi plays it all with technical brilliance, tremendous sympathy and vivid imagination.
John France
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