César Franck

The violin and piano sonatas of Claude Debussy and Maurice Ravel draw on foreign idioms: gypsy music in Debussy's case and African-American blues in Ravel's. But they remain completely French works, spiced with something exotic, and British violinist Jennifer Pike forges interpretations that keep this in mind. Start with the "Blues" slow movement of the Ravel Violin Sonata in G major: Pike and her accompanist, Martin Roscoe, avoid exaggerating the bluesy qualities of the music and instead emphasize the odd, almost tense disconnection between violin and piano that, combined with the languid blues melodies, gives this piece its special piquancy.

At the time César Franck was born in Liège, Belgium, on 10 December 1822, Beethoven had not yet composed his 9th symphony, or his last string quartets. When Franck died at the age of 67 in 1890, Claude Debussy had already made his mark with works including the Cinq poèmes de Charles Baudelaire; it is perhaps not surprising, therefore, that a composer whose life spanned such extremities, had trouble finding his own voice.

Recorded in 2003, this program of rare organ works by Cesar Franck offers precise, poised playing, at all turns delightfully shaped (International Record Review) with magnificent sound from the Notre Dame organ.

With so many versions of the Symphony and the Symphonic Variations available, it's surprising that these two favourite orchestral works aren't coupled more often. Here Tortelier adds an attractive bonus in the evocative tone-poem Les Eolides.

The violin and piano sonatas of Claude Debussy and Maurice Ravel draw on foreign idioms: gypsy music in Debussy's case and African-American blues in Ravel's. But they remain completely French works, spiced with something exotic, and British violinist Jennifer Pike forges interpretations that keep this in mind. Start with the "Blues" slow movement of the Ravel Violin Sonata in G major: Pike and her accompanist, Martin Roscoe, avoid exaggerating the bluesy qualities of the music and instead emphasize the odd, almost tense disconnection between violin and piano that, combined with the languid blues melodies, gives this piece its special piquancy.