Fernande Decruck: Concertante Works Volume 2 (CD Review)

Decruck: Concerto for Cello and Orchestra; The Trianons: Suite for Harpsichord (or Piano) and Orchestra; Sonata in C# for Alto Saxophone (or Viola) and Orchestra; The Bells of Vienna: Suite of Waltzes. Jeremy Crosmer, cello; Mahan Esfahani, harpsichord; Mitsuru Kubo, viola; Jackson Symphony Orchestra; Matthew Aubin, conductor. Claves 50-3108

From time to time in past reviews I have remarked about how delightful it is to come across a recording of some music by a composer whom I have never encountered previously and find it to be a rewarding musical experience that makes me glad I took a chance on someone new and different. The excitement of discovering “new” music from a “new” composer and my subsequent eagerness to pass my discovery along to others makes those reviews the ones that are especially exciting to write. Well, grab your garters, Gertie, and hold on to your hat, Harry, because what we have here is a release where I’m willing to bet that you’ll discover just like I did that not only is the composer featured on this new release unfamiliar to you, but so are the conductor, the orchestra, and -- with the possible exception of harpsichordist Mahan Esfahani – so are the soloists. And come to think of it, although the Claves label sounds vaguely familiar to me, if I ever purchased any of their previous releases, it was a long time ago – i.e., at least a decade – if at all. Truly, this is all fresh, new, unfamiliar, stimulating stuff.

According to Wikipedia, the composer Fernande Decruck (1896-1954), whose maiden name was Breilh, was born in France and began piano lessons at the age of eight. Later, she studied organ and composition at the Paris Conservatory. She traveled to America to give recitals, and in 1928 moved there with her family. Her husband, Maurice Decruck, whom she had married in 1924, played both saxophone and bass with the New York Philharmonic. In 1932, Maurice returned to Paris and started a publishing company that would go on to publish Fernande’s compositions. She returned to France in 1933, but resided in Toulouse, where she began teaching at the Toulouse Conservatory.  In 1942 she moved back to Paris and many of her works were premiered between 1943 and 1947. She and her husband divorced in 1950. According to the liner notes, during her time at the Paris Conservatory, she served as an assistant professor of harmony; one of her students went on to become quite famous and in fact went on later in his own career to dedicate a score to her, “To Fernande Decruck, with all the gratitude and fond memories of the author – O. Messiaen.”

 

Conductor Matthew Aubin (right) is the foremost scholar devoted to the music of Fernande Decruck. He has earned multiple research grants that have enabled him to study her life and compositions. As Music Director of the Jackson (Michigan) Symphony Orchestra, this is the second recording he has been able to oversee, the first having been released in 2022. Note that the engineering on this recording is by Soundmirror, Inc., one of the best in the business. This is a fine sounding CD.

The program opens with Decruck’s Concerto for Cello and Orchestra, which is in the typical three movements. Composed in New York in 1932, it is her first known concerto as well as her first large-scale orchestral composition. The opening movement, marked Andantino non troppo, could be mistaken for a lost work in the pastoral mode by an English composer such as Vaughan Williams. Cello soloist Jeremy Crosmer is given no virtuoso passages to wow the listener; rather, he weaves some lovely melodic lines in harmony with the orchestra for a touch over 10 minutes – the longest movement of the concerto. The briefer (6:15) second movement, marked Adagietto, molto tranquillo, maintains the peaceful mood, with Crosmer continuing to provide meaning through warmth of expression rather than speedy playing. Even the faster (5:19) finale, marked Allegro energico, does not devolve into virtuosic display for the sake of display but remains nicely balanced and in keeping with the previous two movements. Between Decruck being virtually unknown and the solo cello part lacking in showstopper passages to appeal to guest cellists, the chances of hearing this lovely work performed in concert are almost certainly nil (unless perhaps you happen to live in the Jackson, MI area). Thank goodness for recordings!

 

Grand Trianon

Next up is Les Trianons: Suite for Harpsichord (or Piano) and Orchestra, which dates from 1946, making it the latest of the pieces on this recording. Decruck dedicated it to Marcelle de Lacour, who later became a distinguished professor of harpsichord at the Paris Conservatory. And in case you might be wondering what “Les Trianons” might be, the liner notes inform us that “the suite is named after the Grand Trianon and Petit Trianon, two opulent royal buildings in Versailles which serve as an evocative backdrop to the music.” (Confession time: Prior to reading that explanation, I assumed that between the “Tri” in Trianons and the fact that the suite had three movements, there must have been three of those Amigos – er, Musketeers.) It’s a bit of a strange piece, straddling Baroque and 20th-Century instruments and styles. We have a harpsichord, at times struggling to be heard over the sound of its accompaniment; on the other hand, we have modern instruments such as saxophone, celesta, and concert toms. Its three brief movements (4:06, 6:41, 6:25) follow a fast-slow-fast pattern. In the opening movement, Esfahani does his best to make his harpsichord compete with the orchestra, but one can’t help but wonder whether a piano would have worked better. The second movement seems much more suited to the harpsichord, with Esfahani given more opportunity to be heard. The use of the saxophone in this movement is especially fascinating. Esfahani’s harpsichord kicks off the finale and is given some sonic space throughout; again, however – and with no disrespect to Mr. Esfahani, a master of his instrument – I can’t help but wonder whether a piano would be better suited here. Overall, it’s an interesting piece, but it would be most interesting to hear the piano version. (In a future Volume 3, perhaps?)

Petit Trianon

Next on the docket is what is said to be Decruck’s most widely known work, her Sonata in C# for Alto Saxophone (or Viola), which dates from 1946. She composed the work in two versions, one for solo instrument (saxophone or viola) and piano, the other for solo instrument and orchestra, which is the version played here. The opening measures from the orchestra have such weight to them that one wonders what the piano version would sound like. As in the Cello Concerto, the solo instrument – in this case the viola of Ms. Kubo – plays primarily lyrically rather than in an intensely virtuosic style. The four movements are relatively brief, especially the two inner movements, the timings being 6:05, 3:34, 3:05, and 5:30 respectively. The orchestral accompaniment is colorful and varied; overall, it’s an engaging composition. The sound of the solo viola tends to blend in well with the orchestra; the alto saxophone might stand out more as a solo instrument. No, I’ve not heard them both, but my guess is that this might well be the more balanced and thus aesthetically pleasing version of the two.

The program closes with the lively The Bells of Vienna: Suite of Waltzes, which dates from 1935 and was performed in concert as well as broadcast in France at the time. It is easy to see why it was popular, as its colorful scoring and lively waltz rhythm make it hard to resist. Despite its initial popularity, the piece was nearly lost to posterity; Aubin had to do some rigorous detective work to reassemble it from parts he pulled together from the Decruck family, the music library at a Portuguese radio station, and some final missing parts that a friend found for him in a conservatory library in France. Aubin’s dedication and diligence was well worth it, for the restored score as performed by these Jackson forces and recorded by the fine folks at Soundmirror is just the sort of music that may get you out of your listening seat and onto your waltzing feet. 

 

The physical package is sturdy, the liner notes are informative and include photographs, and the sound quality is first-rate. This is not just another good recording of music with which you are already familiar, it’s an excellent recording of excellent music that you’ve never heard before but would most likely enjoy if you did – and is thus most enthusiastically recommended.

Wynton Marsalis: Blues Symphony (CD Review)

by Karl Nehring

Wynton Marsalis: Blues Symphony. Detroit Symphony Orchestra; Jader Bignamini, conductor. PENTATONE PTC 5187 232

Wynton Marsalis (b. 1961) is a well-known figure in jazz circles. He is a member of a prominent New Orleans musical family. His late father, Ellis Marsalis (1934-2020) was a prominent jazz pianist and educator (for a real treat, try his album Twelve’s It). Ellis and his wife Dolores had six sons, four of whom – Branford (saxophone), Wynton (trumpet), Delfeayo (trombone), and Jason (drums, vibraphone) – became jazz musicians themselves. Of the four musician sons, Wynton and Branford especially have gone on to become major figures in the world of jazz; moreover, both have also released classical recordings as well. To date, Wynton Marsalis has received 32 Grammy nominations and has won nine times (he is the only musician ever to win in both the jazz and classical categories in the same year); in addition, he is the first jazz musician ever to win the Pulitzer Prize for music, which he was awarded in 1997 for his oratorio, Blood on the4 Fields. Branford Marsalis has received 18 Grammy nominations and has won three times, and the Branford Marsalis Quartet has received six nominations and has won once. Bringing further recognition to the family, at the 2023 Grammy Award ceremony, Ellis Marsalis was honored posthumously with a Lifetime Achievement Award. 

 

In the 1980s, Wynton was seen as a controversial figure in jazz circles because of his outspoken comments about the state of jazz at that time – he was often portrayed in the press as something like the anti-Miles Davis. Around the same time, he got into a bit of a feud with Branford, because he felt Branford had “sold out” by playing some gigs with the likes of the Grateful Dead. Ah, brothers, eh? Fast-forward to the present and both brothers are older, wiser, and more settled. Branford recently decided to leave California and return home to the New Orleans area because he felt a responsibility to mentor young musicians. His long-time quartet recently signed with the prestigious Blue Note label and are releasing an intriguing new album titled Belonging, which is their take on the classic ECM album with the same title recorded by Keith Jarrett’s European Quartet, which was originally released in 1974  As for Wynton, he has recorded umpteen dozens of albums over the years, has toured the world, garnered honors thither and yon, and been busy as a composer, arranger, and bandleader – for many years now with the Jazz at Lincoln Center Orchestra.

Marsalis writes of his 2009 Blues Symphony that it “is a seven-movement work that gives a symphonic identity to the form and feeling of the blues. It utilizes regional and stylistic particulars of the idiom’s language and form to convey the basic point of view of the blues as music. ‘Life hands you hard times.’ This piece is intended to further the legacy of Scott Joplin, George Gershwin, James P. Johnson, Leonard Bernstein, John Lewis, Gunther Schuller, and others who were determined to add the innovations of jazz to the vocabulary of the symphonic orchestra. I believe there is an organic and real connection between all Western traditions regardless of instrumentation, and that the symphonic orchestra can and will swing, play the blues, feature melodic improvisation, and execute the more virtuosic aspects of jazz and American vernacular music with absolute authenticity.”

The work is divided into seven movements, which are titled as follows: I: Born in Hope; II: Swimming in Sorrow; III: Reconstruction Rag; IV: Southwestern Shakedown; V: Big City Breaks; VI: Danzón y Mambo, Choro y Samba; VII: Dialog in Democracy. Given the named movements and Marsalis’s stated intention of giving “symphonic identity to the form and feeling of the blues,” it should come as no surprise that the work comes across as more of a tone poem (or suite of tone poems) than symphony – something along the lines of Má vlast by Smetana. It is fascinating to hear the orchestra treated as something of the world’s biggest big band; you can hear the DSO players giving it their all. Trombone slides, clarinet glissandos, and an overall orchestral ability to impart a feeling of swing to the proceedings while never taking things over the top and making the music sound campy make for a rewarding listening experience. There is an earlier recording by the Philadelphia Orchestra; however, this new Pentatone release surpasses that one in terms of both performance and sound. Highly recommended! 

Paganini: 24 Caprices (Streaming review)

by Bill Heck

Paganini: 24 Capricesfor Solo Violin. Sarasate: Caprice basque, Milstein Caprice. Wieniawski: Etudes-Caprices for 2 violins, Op.18; Caprice andalous, Op. 122; Rêverie et caprice, H. 88. Saint-Saëns: Introduction et rondo capriccioso, Op. 28. María Dueñas, violin; Itmar Golan, piano (Sarasate); Boris Kuschnir, piano (Wieniawski); Deutsches Symphonie Orchester Berlin, Mihhail Gerts (Wieniawski, Saint-Saëns). DG 4865708 (2 CDs or download)

A few days ago, KWN and I were chatting about the kinds of music that we choose to review or, more precisely, about the recordings that we don’t want to review. Why not, you ask? Well, neither of us feels comfortable reviewing recordings of music that doesn’t particularly appeal to us and, like everyone else, we have our individual preferences. And, as we aren’t being paid for our efforts, we have neither the inclination nor the time to spend listening when doing so just feels like a chore. As we talked, one sub-genre that came up was solo violin pieces, and here we agreed: while there's no denying that some great music has been written for solo violin, neither of us tends to get into it.

So why am I recounting such a conversation? Because the retelling just shows how life's little ironies pop up everywhere. Within a day of this conversation, I came across this new recording of, yes, solo violin music that piqued my interest. Oh well – there are exceptions to every rule, and my rule about generally not being so interested in works for solo violin has already been violated at least once on this website, specifically in my review of the Yasÿe Six Sonatas played by Hillary Hahn. What’s one more intellectual inconsistency among friends…?

Now if we are going to listen to music for solo violin, we might as well start with one of the most famous and, if contemporaneous reports are to be believed, one of the most spectacular violin virtuosos of all time, Niccolò Paganini. And if one is going to listen to Paganini's compositions, we might as well begin with the 24 Caprices, perhaps Paganini’s most widely known (and imitated) series of works.

Reviews of some other recordings by Dueñas have characterized her playing as spirited, expressive, even aggressive (in, I think, a good sense), and those are the characteristics that one hears immediately. She certainly has the technique and control of her instrument to deal with these often very difficult pieces. But in addition, she makes them interesting, even moving and just a joy to hear. As played here, these works are not just a collection of virtuoso fireworks; she’s not afraid to vary tone and rhythm in the interests of letting the music speak. To illustrate what I mean, think of a difficulty that may arise when listening to such a long series of pieces: the mind may wander, attention may drift off in other directions. That wasn’t an issue here for me, as Dueñas brought out the musical underpinnings of each piece and kept me fully engaged.

Niccolò Paganini

 

Of course, there are plenty of other recordings of these works. For example, the one by Itzhak Perlman is classic, but I must say that the recording is showing its age, with rather dull sound. The recent one by James Ehnes features spectacular technique (he rockets through Number 1 in an incredible 1:48 as compared to Dueñas’s “leisurely” 2:33), but the playing, while never dull, is perhaps more straightforward than hers. In any case, I hear Dueñas’s traversal of the Caprices as a major success – so far, so good.

But it doesn’t stop there: as late-night TV commercials say, “But wait! There’s more!” Although the Paganini pieces are the headliner, and surely the reason that most readers would be interested in this release, the album includes a collection (recital?) of works featuring the violin. To keep this review at reasonable length, I’m going to do a quick summary, but readers should know that there’s interesting and enjoyable music to be found here.

To start with, Dueñas is joined in different works by piano, guitar, and full orchestra, so it’s not solo violin all the way. Many of these works have a Spanish flavor. Perhaps the most interesting is De cuerda y madura (Of Stone and Wood) which, depending on your taste, may strike you as a fascinating exploration of modern composition or a far-too-out-there collection of random notes; I lean toward the former. More immediately appealing are the Études-Caprices for 2 Violins by Wieniawski, and of course the two works by the perpetually underappreciated Saint-Saëns. All the playing is impeccable, as expected.

There are only two real, even if minor, disappointments here. First, in the CD version, the Paganini Caprices are spread across two disks (number 21 - 24 on the second disk). Second is the accompanying booklet, which features quotes from Dueñas in a sort of pop magazine interview format. A few interesting ideas surface, but it would’ve been so much nicer to have even a brief essay by the artist speaking directly to us in more depth. The sound of the recordings is very good if not, to my ears, great, although varying as the works were recorded in different locations by different engineering teams; certainly there's nothing to get in the way of enjoying some wonderful playing of appealing and even exciting music. In summary, a release well worth checking out – even if you thought that you weren’t fond of music for solo violin.