Debussy Geoffrey

In addition to the traditional pairing of the Debussy and Ravel string quartets, the Arcanto Quartett performs Henri Dutilleux's Ainsi la Nuit (1971-1976), a grouping that is becoming increasingly popular on recordings. These are absolutely secure, thoughtful, self-effacing readings of the Debussy and the Ravel. While the quartet doesn't bring particular new revelations to the pieces, the members play with nuanced sensitivity and impeccable musicianship. The haunted quiet they achieve in the first part of the third movement of the Debussy is especially impressive, as is the clarity of their sense of direction and unity in the final movement, the most difficult of the four to pull off. Similarly in the Ravel, the contrast between the serenity of the third movement and the raw athleticism of the fourth is attention-grabbing and invigorating.

If anybody is, then Zoltán Kocsis is truly a musical artist in the Renaissance sense: he explores ever greater areas of his profession, and takes possession of new realms. Initially, we looked on with incomprehension, asking why as a pianist of genius, he did not devote himself exclusively to his instrument. Why was he dissipating his creative energies is so many fields: teaching, conducting, writing essays, creating concert programs, forming societies and building an orchestra – and of course, there was his composition as well. But these days, we really have to acknowledge that with Kocsis, this is not some sporting achievement, but utilising the Wagnerian term – a kind of “Gesamtkunstwerk” activity.

The range and variety of French piano music in the 19th and 20th centuries is exemplifi ed in these critically acclaimed albums bringing together rarely encountered pieces, a number of which are performed on period instruments. Théodore Gouvy’s little-known sonatas and Benjamin Godard’s fragrant lyricism are part of a lineage that includes the masterful large-scale Piano Sonata of Vincent d’Indy, the virtuosic rarities – many in première recordings – of Saint-Saëns, Satie’s tenderness and wit, and unknown piano versions of some of Debussy’s greatest orchestral masterpieces.

The range and variety of French piano music in the 19th and 20th centuries is exemplifi ed in these critically acclaimed albums bringing together rarely encountered pieces, a number of which are performed on period instruments. Théodore Gouvy’s little-known sonatas and Benjamin Godard’s fragrant lyricism are part of a lineage that includes the masterful large-scale Piano Sonata of Vincent d’Indy, the virtuosic rarities – many in première recordings – of Saint-Saëns, Satie’s tenderness and wit, and unknown piano versions of some of Debussy’s greatest orchestral masterpieces.

Among the young British instrumentalists vying to pick up the mantles of the great soloists of a generation ago, flutist Katherine Bryan seems among the most promising, and she takes a major step forward with this, her second release. Her startlingly clear, bright articulation in the upper register is pleasing on its own, yet the real attraction here is that she approaches a repertory intelligently and brings fresh perspectives to it. The Flute Concerto (1993) of Christopher Rouse only seems to be the odd item in the set; Rouse's instrumental writing, with its intricate grasp of texture and register, is truly a descendant of the French (and French-Swiss) music on the rest of the album, and it was an inspired choice in terms of showcasing Bryan's technique as well. The three central movements have a memorial tone, with flute solos woven into Rouse's characteristically spacious chords, and Bryan has the stamina to stick with the long line here. Ibert's delightful Concerto for flute and orchestra (1934) receives an absolutely crackling performance from Bryan.

Over a remarkably long and illustrious career, Camille Saint-Saëns thrilled audiences around the world as a pianist and organist, shaped the course of musical life in France, and enriched a multitude of genres with some 600 works, all bearing witness to the mastery of his craft. Setting his best-known compositions in their dazzlingly diverse context, this edition invites exploration and discovery. It spans more than a century of recording history, encompassing a host of great instrumentalists, singers, conductors and orchestras, many of them from France. Setting the pace, in performances from as early as 1904, is the composer himself.

This recording is a tribute to the chromatic harp, which, with its rich colours and theatrical effects, was perfectly tuned to the impressionist and art nouveau atmosphere of the turn of the 20th century. Geoffrey Gordon's Jeux de Création is inspired by music from the 1920s, using both traditional and extended techniques, drawing on themes by Milhaud and Debussy to portray the past and present. Reflecting this aesthetic, the other works in this programme include the artistry of Ravel and Fauré, the quasi-orchestral effects of Debussy's Danses, and Caplet's sensuous and spectacular Divertissements.