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Neeme Jarvi Conducts Chabrier (2013)

Posted By: peotuvave

Date: 12 Nov 2013 23:42:41

This disc of popular works by Emmanuel Chabrier marks the beginning of a new series of French repertoire, performed by the Orchestre de la Suisse Romande under its newly appointed Artistic Director, Neeme Järvi.

After three attempts at comic opera, Chabrier finally achieved success in 1877 with L’Étoile, the plotline of which is set in the court of the somewhat emotionally unstable King Ouf. A couple of years previously, Chabrier had written a short Lamento for orchestra, a work which would not perhaps be considered revolutionary by today’s audiences, but which caused the committee of the Société nationale de musique to hum and haw over it for eighteen long months before finally letting it loose on the Parisian public in 1878.

From July to December 1882, Chabrier took his family on an extended holiday to Spain, during which he kept himself busy by noting down the Spanish folk tunes and dance rhythms he encountered on his way. He put many of them into his orchestral masterpiece España, a work overwhelming in its orchestral colour, which is such a characteristic feature of this composer. The impressions of his Spanish holiday can also be heard in the Habanera.

For six years Chabrier worked on Gwendoline, a two-act dramatic opera on a libretto by Catulle Mendès, set in Britain in what he called ‘barbarous times’. Inspired by Wagner and Berlioz, the Overture sets the scene perfectly for a drama of violence, treachery, and passion. A month after Gwendoline was premiered in Brussels in April 1886 the Opéra-Comique in Paris agreed to put on Chabrier’s next opera, Le Roi malgré lui, a melting pot of complex political intrigue, cheerful arias, and vivacious dances.

In 1880 Chabrier had written his Dix Pièces pittoresques for piano, and over the next few years he orchestrated four of them to form the Suite pastorale, with its gently pulsing ‘Idylle’ movement (which inspired Poulenc to become a composer), the raucous ‘Danse villageoise’, the sultry ‘Sous-bois’, and last but not least the sunny, high-spirited ‘Scherzo-valse’.

Also on this disc is the Joyeuse marche, one of Chabrier’s most popular works, and the Bourrée fantasque, based on a dance from the Auvergne region in France where the composer had spent his childhood.

Composer: Emmanuel Chabrier
Conductor: Neeme Järvi
Orchestra/Ensemble: Suisse Romande Orchestra

Reviews: The orchestral works of Emmanuel Chabrier (1841-1894) have always made a neat program for an LP or CD. Most of us got to know this high-spirited music through the recordings of Ernest Ansermet; now Neeme Järvi returns to Ansermet territory with the same band, L’Orchestre de la Suisse Romande, although I daresay today’s orchestra contains none of the same personnel. (Ansermet’s final recording sessions took place in 1969.)

Järvi’s brisk, energetic style suits this music perfectly. He brings exuberance to the Joyeuse marche , which the composer himself described as “crazy,” finds all the myriad colors in the popular masterwork España , and paces the “Féte polonaise” from Le Roi malgré lui with such brio that it sounds like a freshly refurbished carousel.

As with several French composers of his generation, Chabrier was overwhelmed by the music of Wagner. He spent six years working on a Wagnerian opera, Gwendoline , and the overture clearly displays that influence. (The sleeve note likens it to Die Meistersinger but to my ears it is early Wagner, particularly Der fliegende Holländer , that informs this particular piece.) Järvi takes this work no more seriously than the rest of his program; he launches into it with exhilarating gusto and never lets up. It is an exciting performance that definitely surpasses Ansermet, whose rendition has always struck me as too sluggish.

Chabrier, a native of the Auvergne region, proved to be a strong influence on the French composers who followed him. His music was admired by Debussy, Poulenc and, especially, Ravel. The latter was devoted to Chabrier’s opera Le Roi malgré lui , a work full of marvelous set pieces, saddled with a virtually incoherent libretto. Ravel’s piano style was influenced by Chabrier’s Dix piéces pittoresques of 1880, and Chabrier himself orchestrated four of these piano pieces eight years later to create the Suite pastorale. In this work the composer’s sunny disposition encompasses an added vein of nostalgia—Chabrier looking back through rose-colored glasses at his Auvergne boyhood—and Järvi conveys the tender atmosphere sympathetically without romantic over-indulgence.

The late piano piece Bourée fantasque (1891) is played here in the usual orchestration, made by the composer’s conductor friend Felix Mottl in 1897. Mottl’s hand is heavier than Chabrier’s, though the scoring sounds less muddy in this performance than in some others, thanks to Järvi’s clarity. An interesting and much quirkier orchestration by Charles Koechlin recently appeared on a Hänssler disc (along with Koechlin’s orchestrations of Debussy’s Khamma and Fauré’s incidental music for Pelléas et Melisande ). In the Bourée fantasque , Mottl gives the opening motif quite sensibly to the cellos, whereas Koechlin gives it to the timpani! Needless to say I prefer Koechlin, and can recommend the Hänssler recording, which was reviewed in Fanfare 36:2 by Adrian Corleonis. About Koechlin’s scoring of Bourée fantasque , Corleonis commented: “Hearing this after the frequently performed rule-of-thumb orchestration by Felix Mottl is to grasp the distance between workmanlike utility and genius.” Extra works in Järvi’s program that are not usually included are the Overture and two brief interludes from the comic opera L’Étoile (1877), and the even earlier Lamento for orchestra. The latter piece is more conventional and less identifiable as Chabrier, but a pleasant interlude nonetheless.

The new disc is certainly recommendable on its own terms, but how does it stand up to the competition? Järvi maintains the authority of Ansermet in this repertoire, and it must be admitted that the latter’s recordings are sounding a little elderly these days. For a still great sounding old disc and vital performances, Paul Paray is one to hear (recently reissued in the Mercury Collection Vol. 2), though his program does not include the selections from L’Étoile, Lamento , or the Habanera . (Paray’s performance of the Gwendoline Overture is even brisker than Järvi’s: 8:44 as opposed to 9:23!) A 1996 DG disc from John Eliot Gardiner and the Vienna Philharmonic Orchestra is also competitive: it has been reissued recently in a cheap series, and includes a beautifully played Larghetto for French Horn and Orchestra that does not appear in other collections. Gardiner’s program is more cleanly recorded than the new Chandos disc, which, despite its spectacular range and Super Audio sound, places the Suisse Romande orchestra in a somewhat reverberant acoustic. Michel Plasson’s Chabrier recordings with L’Orchestre du Capitole de Toulouse have been reissued many times by EMI, but how often we will see them in future is in doubt. EMI’s extensive catalog has been purchased by Warner Music, whose classical reissue policy has been inconsistent and piecemeal in the past. Plasson’s performances are authentically French and vibrant, and his program uniquely contains Chabrier’s vocal works with orchestra. The big EMI box of his recordings of French orchestral music (including his Chabrier) is highly recommended: see my review in Fanfare ’s Hall of Fame (34:6). However, if it’s just one disc you require, then the new Järvi program is worth the outlay, and you definitely won’t find yourself straining to hear the bass drum.

Tracklisting:

1. Joyeuse marche "Marche française" by Emmanuel Chabrier
Conductor: Neeme Järvi
Orchestra/Ensemble: Suisse Romande Orchestra
Period: Romantic
Venue: Victoria Hall, Geneva, Switzerland
Length: 3 Minutes 46 Secs.

2. Gwendolin: Overture by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Post-Romantic
Written: 1885
Venue: Victoria Hall, Geneva, Switzerland
Length: 9 Minutes 31 Secs.

3. Habañera by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Romantic
Venue: Victoria Hall, Geneva, Switzerland
Length: 4 Minutes 17 Secs.

4. España by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Romantic
Written: 1883; France
Venue: Victoria Hall, Geneva, Switzerland
Length: 6 Minutes 20 Secs.

5. Lamento, for orchestra by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Post-Romantic
Written: 1874
Venue: Victoria Hall, Geneva, Switzerland
Length: 7 Minutes 50 Secs.
6. Bourrée fantasque by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Romantic
Venue: Victoria Hall, Geneva, Switzerland
Length: 6 Minutes 51 Secs.

7. Suite pastorale by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Romantic
Written: 1888; France
Venue: Victoria Hall, Geneva, Switzerland
Length: 19 Minutes 12 Secs.

8. L' Étoile: Overture. Moderato - Andantino - Allegro - Presto by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Post-Romantic
Written: France
Venue: Victoria Hall, Geneva, Switzerland
Length: 5 Minutes 5 Secs.

9. L' Étoile: Entr'acte before Act 2. Allegro franco by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Post-Romantic
Written: France
Venue: Victoria Hall, Geneva, Switzerland
Length: 1 Minutes 20 Secs.

10. L' Étoile: Entr'acte before Act 3. Mouvement de valse by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Post-Romantic
Written: France
Venue: Victoria Hall, Geneva, Switzerland
Length: 1 Minutes 51 Secs.

11. Le Roi malgré lui: Fête polonaise. Allegro molto animato - Più moderato e molto rubato - Vivo - Poco by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Post-Romantic
Written: 1884-1887
Venue: Victoria Hall, Geneva, Switzerland
Length: 6 Minutes 59 Secs.

12. Le Roi malgré lui: Danse slave. Allegro con brio by Emmanuel Chabrier
Conductor: Neeme Järvi
Period: Post-Romantic
Written: 1884-1887
Venue: Victoria Hall, Geneva, Switzerland
Length: 5 Minutes 29 Secs.

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