Théodore Gouvy (1819-1898)
Nonet
Serenade for Octet
Septet
Ensemble Arabesques
rec. 2024 Immanuelskirche, Wuppertal, Germany
Farao Classics B 108127 [68]

Over the years I’ve attended many chamber concerts, yet I’ve heard nothing by Théodore Gouvy, a close contemporary of Jacques Offenbach, César Frank and Anton Bruckner. On reflection that neglect seems to apply to performances of his songs, piano and organ works, orchestral music including symphonies, sacred and secular choral works notably dramatic cantatas, and two operas: his grand opera Le Cid and the one act Fortunato (after Mateo Falcone). Thankfully several of Gouvy’s works have been recorded, notably his symphonies on CPO. Now, Farao Classics has released this new, three work album of Gouvy’s wind chamber works, that includes world premiere recordings of the Nonet and Octet Serenade.

Gouvy was part of a family of French industrialists of Belgian heritage, who ran an ironworks. He was born in 1819 at Goffontaine in the Saarland-Lorraine region which four years earlier had been under French control and then annexed to become part of Prussia. Due to his German nationality Gouvy couldn’t gain naturalisation as a French citizen until he was aged thirty-two. His music fells between two stools, unable to gain lasting admiration by neither the French nor the German music establishments. Now well away from the complex dynamic of the time I feel we can admire Gouvy’s music for what it is.

In the field of chamber music Gouvy was especially productive. I’ve viewed a list of around forty chamber works of which there are some seven scored for wind instruments. A valuable resource is the website of the Théodore Gouvy Institute that contains a list of works, in French only. On this album titled Kammermusik (Chamber Music) the Ensemble Arabesques has chosen to record three, four movement works for wind instruments a Septet, the Octet Serenade and a Nonet.

Founded in 2011 the Ensemble Arabesques is a leading woodwind ensemble on the international scene. The ensemble’s projects vary from the Baroque to contemporary music and frequently include rarely heard works. In 2017, the Ensemble Arabesques realised the aim of recording albums by composers with a passion for wind instruments. The series was introduced with the widely acclaimed album of Gustav Holst’s Kammermusik, followed in 2019 with Kammermusik by Francis Poulenc, a composer widely recognised for his fondness for winds, often combined with piano. In 2021, the ensemble turned to Jacques Ibert with the album Kammermusik. Like Holst, Ibert showed a particular aptitude for combining winds with mixed string instruments.

Gouvy’s opening work on the album is the Nonetto (Nonet) written c. 1883/84. Scored for flute, oboe and pairs of clarinets, horns and bassoons, also included is a part for double bass. Gouvy’s works list also shows his far better-known Petite Suite Gauloise, Op. 90 for the combination of flute, pairs of oboes, clarinets, horns and bassoons from 1888. Opening the Nonet (c. 1883/84) the Introduction – Allegro movement takes almost nine and a half minutes. This is striking writing from Gouvy right from the Introduction section with Ensemble Arabesques providing a glorious interplay of instruments. So ebullient and warm the Allegro section with its engaging melodies is the icing on the cake. Marked Intermezzo alla Polacca with its origins as a traditional Polish folk dance, this rhythmic writing is unfailingly agreeable and witty in disposition. More serious in tone, as one might expect, the Elégie feels suitably restrained and ruminative in character. Closing the Nonet in upbeat style the Finale is given spirited playing by the Ensemble Arabesques emphasising a puckish personality.

Gouvy clearly relished the serenade form, and he wrote several. Included here from 1893 is the Sérénade en Octour (Octet Serenade) for woodwind and brass namely flute, oboe and pairs of clarinets, horns and bassoons. Typical of the Romantic era serenade there is a distinct outdoor feel to the Octet Serenade. As the marking Pastorale indicates the opening movement, played so expertly by the Ensemble Arabesques, seems like an undemanding spring walk in the countryside. Following on the Intermezzo signifies to me halcyon days with summer music bathed in bright sunlight. Unhurried and song-like the Canzonetta in the hands of the Ensemble Arabesques conveys a mellow and untroubled temperament. Marked Rondo giocoso the impressive Finale radiates a blithesome generosity.

Concluding the album is the Septuor (Septet) for woodwind instruments in B-flat major (c. 1887) that Gouvy scored for flute and pairs of oboes, clarinets and bassoons. Striking is the first movement of the Septet which is in two parts, comprising an introductory Adagio of a musing quality and by contrast a light-hearted Allegro. Next the sprightly Scherzo with the Ensemble Arabesques producing a memorable happy-go-lucky disposition. In the third movement Andante the unhurried and reflective mood certainly holds the interest. In the Finale – Allegro with such adept playing from the Ensemble Arabesques it’s easy to get drawn into the incandescent high spirits.

Make no mistake these are outstanding wind chamber works by Gouvy. Throughout such first-class performances one senses considerable technical prowess from the Ensemble Arabesques together with an uncommon level of engagement. Producing outstanding tone from their instruments the positive and resolute energy of the players coalesce with stunning results.

Recorded for Farao Classics under studio conditions at the Immanuelskirche, Wuppertal first class sound have been achieved with marked clarity and satisfying balance of the instruments. In the accompanying album booklet, there is an essay about Gouvy’s life. Nevertheless, the let-down is the lack of information about the three works themselves, especially given their unfamiliarity.  

This engaging album of wind chamber works from Théodore Gouvy is one I have greatly enjoyed. It’s a valuable release that makes me want to explore other Gouvy recordings.

Michael Cookson

Other review: David Barker (October 2025)

Ensemble Arabesques:
Eva Maria Thiébaud – flute
Nicolas Thiébaud – oboe
Manuel Bilz – oboe
Andreas Langenbuch – clarinet
Christoph Schneider – clarinet
Alison Balls – horn
Joan Valeriano Güell – horn
Ulrich Hermann – bassoon
Augusto Palumbo – bassoon
Leon Silas Gärtner – bassoon
Tobias Grove – double bass

Contents
Nonetto
1) I. Introduction & Allegro
2) II. Intermezzo alla Polacca
3) III. Elégie
4) IV. Finale
Sérénade en Octuor
5) I. Pastorale
6) II. Intermezzo
7) III. Canzonetta
8) IV. Rondo giocoso
Septuor
9) I. Adagio – Allegro
10) II. Scherzo
11) III. Andante
12) IV. Finale: Allegro