Rita Strohl (1865-1941)
Musique de chambre
rec. 2023, Maison de l’Orchestre national d’Île-de-France; Studio Sextan La Fonderie, France
La Boîte à Pépites BAP07-09 [3 CDs: 201]

In late 2024 I reviewed, with considerable enthusiasm, a two-disc set issued by the label La Boîte à Pépites which was devoted to songs by Rita Strohl. I was very impressed by what I heard and, noting that the label was on the point of issuing two more volumes of Strohl’s music, I was keen to investigate more of her output. In the meantime, my colleague David Barker obtained this present set of Rita Strohl’s chamber music as a download and I was delighted to find that the contents had made a strong impression on him (review). I’ve recently got my hands on the same set in its CD form.

I was very struck by a remark that David made towards the end of his review: “how can this wonderful music have lain undiscovered for so long? There are at least four works here that demand to be part of the standard repertoire.” Actually, I think this question goes further than recordings: there are nine works in this set and, as I interpret the documentation, only one of them, the short Solitude. Réverie for piano and cello had even been published (by the Paris publisher, Enoch et Cie) before the estimable organisation Palazzetto Bru Zane came to the rescue. They have now published most of the other pieces here recorded, though it appears that Musiques sur l’eau remains unpublished. If musicians can’t even get their hands on scores, it’s no wonder the music has been in total neglect. As David’s review made clear, such neglect is completely unjustified; after hearing these recorded performances, I agree completely.

The earliest work here is the Piano Trio No. 1 in G minor (1884). Strohl was still a student at the time but, in all honesty, one need make few allowances for the fact that this is the work of a nineteen-year-old composer: the writing is assured. There is a definite debt to Mendelssohn and Schumann but the music is still impressive. In the booklet essay comment is made, rightly, that in her writing for chamber ensembles Strohl gives a good deal of prominence to the piano. In this early trio, though, the violin seems the most important presence. I liked the second movement (Prière. Adagio cantabile) very much. It’s founded on an attractive melody, announced by the piano and then taken on by the violin with support from the other instruments. The last of the four movements (Presto molto agitato) mainly contains, as the marking indicates, driving, even turbulent music. This Trio represents a confident, convincing debut in the genre of chamber music but the Second Trio is a stronger work, I think.

The Second Trio in D minor dates from 1888. This time, Strohl cast her work in three movements.  Again, the debt to Mendelssohn and (especially) Schumann is evident. The first movement (Andante sostenuto – Allegro) is full of life and energy once the Allegro gets cracking; here, the music is delivered with great drive. I was very taken with the second movement (Andante. Très lent et très mystérieux) At the start we hear a soulful, extended melody, voiced in subdued fashion. Throughout the movement the melodic inspiration never falters. This is a lovely creation. The finale is open-hearted and happy in nature. I like this work very much. Both trios are played by the same artists, Raphaëlle Moreau (violin), Edgar Moreau (cello) and Tanguy de Williencourt (piano); they give super accounts of both pieces.

Reverting to chronological order, the String Quartet of 1885 is played by Quatuor Dutilleux. This work has an interesting structure. On paper it consists of five movements, though I think that the short opening movement (Allegro ma non troppo) is, in effect, an introduction. In it we hear a fine theme which will prove to be the foundation of the whole work. There follows a Theme and variations – a form to which Strohl was very attracted, it seems. The theme lends itself to variation form and Strohl’s variants are imaginative. This leads attacca into the central Scherzo (Vivace), the melodic basis of which references the Theme in the preceding movement. This Scherzo is a nimble dance which becomes increasingly animated. The fourth movement (Andante) is very expressive, albeit mostly restrained in nature. Via a cadenza for the first violin, this movement gives way attacca to the finale, which takes the form of a rigorous and strongly projected fugue. I admired both the Quartet and also the committed performance which it receives.

The Grand Fantasie-Quintet (1886) is for piano and string quartet. This is a substantial composition (it plays for fractionally over 31 minutes) and it’s impressive. Much of the first movement is bold in character. The thematic material is very good and I think it is handled with assurance. There’s a happy, light-footed scherzo – played deftly here – and a short, innocent Intermezzo. More than balancing the substance of the first movement is the finale which, at 14:25, is the longest movement. It takes the form of a Theme and Variations (of which there are twelve). The theme itself is sinuous and the parallel with Bach which is drawn in the booklet is not inappropriate. However, Strohl soon leaves that influence – if such it be – behind. Her variations are very inventive; in the notes, attention is rightly drawn to the ghostly ninth variation which I think is arresting in its originality.  This Quintet is a most accomplished, inventive and enjoyable work and here it receives a very fine performance.

The Septet in C minor (1890) is scored for unusual forces: pairs of violins and violas; cello; double bass; piano. With such forces you might reasonably expect a certain richness of texture; you’d be right, though I don’t believe the music sounds bottom-heavy. There are four movements, all of them most engaging. The movement that especially caught my ear, though, was the third, which carries a marking (Romance. Très lent et très mystérieux) which is very similar to that of the slow movement of the Second Trio. The serene opening is captivating and presents a lovely melodic foundation for the movement. This movement is treasurable – not a word I use often in reviews – and it receives a performance of great sensitivity. I learned from the booklet essay that the finale is thematically linked to the first movement. However, this is so skilfully done by Strohl that I would not have realised simply by hearing. The music is highly contrapuntal – though not in any dry academic sense – and high spirited. This is an excellent work, though I wonder if the unusual forces might inhibit performances; if so, that would be a pity.

The Piano Quartet (1891) is cast in four movements. The first of these (Andante – Allegro con moto) has a dark, slow opening and, in the Allegro, no little strength and purpose. It’s an impressive movement which here is put over with great conviction. After a warm, lyrical Andante, sensitively performed, and a vivacious Scherzo, the finale sees Strohl employing once again her beloved Theme and Variations form. The theme is quiet and serious; the variations that follow – there are eight of them – always keep the theme in close sight. I think these variations are resourceful; Strohl had a knack for this technique.

TheTrio for piano, cello and clarinet (1898) is entitled Arlequin et Colombine. In it the cello represents Harlequin while the clarinet represents Colombine.  It’s a delightful work, cast in three movements. The central Andante is, in essence, a dialogue between the two characters with the piano in support. The movement features long melodic lines which are ideally suited to the cantabile capabilities of the clarinet and cello. The finale (Allegro. Alla burlesca) is a jeu d’esprit, full of gaiety and high spirits.

I mentioned earlier that it appears that Solitude. Réverie for piano and cello (or violin) appears to be the only one of these works previously published. I’m not surprised that it found a publisher because this short 1897 piece is soulful and richly melodic. Strohl makes the most of the cantabile nature of the stringed instrument and Héloïse Luzzati, ably supported by pianist Célia Oneto Bensaid, makes the most of the opportunity. Ms. Luzzati plays with lovely burnished tone; she really makes her cello sing.

Musiques sur l’eau (1903) is not only the latest piece in this collection; it also stands somewhat apart. For one thing, it’s the only piece here for solo piano. More significantly, though, it is stylistically different. Almost all the other pieces included here stand firmly in the nineteenth -century French Romantic tradition, though I agree with the statement in the booklet that Arlequin et Colombine is “a turning point”, showing Rita Strohl moving away from that tradition. However, by the time she composed the three pieces that constitute Musiques sur l’eau she had embraced the whole tone scale. In consequence, uniquely in this collection, the music in these three pieces sees her much closer to the mature style of Debussy. The first piece is Jeux de naïades. Mouvement Modéré. Here. washes of piano sound conjure up an aural picture of the sea. There’s a limpid beauty to the writing. At times the music almost seems improvisatory in nature but I’m sure it’s tightly organised. Barcarolle seems quite searching; there are dark undercurrents. It comes as little surprise when from the dark sub-surface rumblings of that movement Strohl passes without a break into Orage. Très animé. Here, the music is powerful and turbulent. Towards the end of the movement the storm seems to subside but short bursts of the stormy music make it clear that in fact the storm has simply moved away into the distance. Musiques sur l’eau is a fine and successful work. Its very well realised here by Célia Oneto Bensaid.

This is a seriously impressive set in every respect. The standard of performance is uniformly high; all the artists make the best possible case for Rita Strohl’s music; not only do all of them play with great technical accomplishment but in addition – and importantly – it is clear that they believe in the music. And they’re right to do so because these works are all accomplished and very interesting to hear. It’s a scandal that Rita Strohl’s music has lain dormant and neglected for so long but this set of performances and the songs included in Volume 1 of this series make handsome amends. I read with interest in the booklet that after Rita Strohl began to write songs she moved away from chamber music. I think that’s a pity because on the evidence of the music included here it would have been fascinating to see how she might have developed in this genre.

The Quintet has previously been recorded: it appeared in Bru Zane’s invaluable set entitled Compsitrices, the collection which set me off on my own exploration of female French composers of this era (review). So far as I’m aware, all the other pieces in this present collection are receiving their first recordings.

The recording engineers have done full justice to the quality of the music and performances. The sound is uniformly excellent throughout this collection.     

In my review of Vol. 1, I drew attention to the outstanding nature of the documentation, which is provided in French and in an excellent English translation. That’s equally true of this volume. There’s an extended essay by Héloïse Luzzati on the composer’s life and musical development. That covers eight pages and the text is, I think, identical in each of the three volumes (which is a good idea in case someone doesn’t buy the full set). There follows a comprehensive discussion of the music by Constance Luzzati. My only slight quibble with the essay on the music is that the author discusses the music along what I might term thematic lines – there are, for example, sections on Strohl’s textures and on her fondness for the theme and variations form. That’s a perfectly logical way to proceed but it does mean that if you’re trying to find out more about a particular work, you’re likely to find references to it dotted around the discussion; in some ways a more conventional note covering each work in turn might have helped. But, as I say, that a small quibble; the documentation, including the illustrations, is an object lesson in how to present unfamiliar music.    

I’ve just received a copy of Volume 3 in this series which includes some of Rita Strohl’s orchestral output (review). I’m keen to get to grips with that. In the meantime, if you’re interested in either French music or chamber music, I urge you to investigate this important set without delay. I hope you’ll find it as rewarding as I have.

John Quinn

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Previous review: David Barker (November 2024)

Contents
CD 1
Grand Fantasie-Quintet (1886)
Septet in C minor (1890)
Arlequin et Colombine Trio for piano, cello and clarinet (1898)
CD 2
Piano Quartet (1891)
Piano Trio No. 2 in D minor (1888)
Solitude. Réverie for piano and cello (or violin) (1897)
CD 3
Piano Trio No. 1 in G minor (1884)
String Quartet (1885)
Musiques sur l’eau (1903)
Performers
Raphaëlle Moreau, Shuichi Okada, Alexandre Pascal (violin)
Léa Hennino, Claudine Legras (viola)
Héloïse Luzzati, Edgar Moreau, Aurélien Pascal (cello)
Lorraine Campet (double bass)
Nicolas Baldeyrou (clarinet)
Célia Oneto Bensaid, Tanguy de Williencourt (piano)
Quatuor Dutilleux