Not so Classical Chamber

Jacques Ibert - Complete Chamber Music (1996) {2CD Set, Brilliant Classics 6486 rel 2006}
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© 1996, 2006 Brilliant Classics | 6486
Classical / Early 20th Century / Chamber Music

Jacques Ibert (1890 - 1962) was a unique figure in 20th century France. In his long life he was influenced by the various musical styles, from the 'impressionists' Debussy and Ravel, through the neoclassicism of Satie and the Groupe des Six, to later more expressionistic composers. But foremost he was himself, and he wrote in a vivid, spiritual and often humorous style, in which his Gallic Esprit always shone forth. This set contains his complete chamber music output, for such diverse instruments al harp, guitar, flute, cello, bassoon, clarinet, saxophone, harpsichord and trumpet.

Dynamic, the independent Italian record label, based close to Paganini’s birthplace in Genoa, has compiled this ten disc set of their previously issued Paganini recordings. It seems that several of these recordings were receiving their first recording. Although this box includes the complete edition of Paganini’s fifteen quartets for strings and guitar; the three string quartets and a number of other chamber works there is certainly much of Paganini’s chamber music not included here.

"The wonderful discoveries that I have made during my research on neglected repertoire often make me wonder why it is that so much beautiful Polish music has fallen into oblivion" - thus writes Acte Préalable (AP) impresario Jan Jarnicki in his customary preamble for the CD booklet. Music-lovers who have bought previous AP discs will have asked themselves the same question - how to account rationally for the big repertoire gap between Chopin and Szymanowski, and again between Szymanowski and Penderecki/Górecki. The names capable of filling those holes are legion, a fact to which many previous AP recordings are persuasive testimony.

Something of Vagn Holmboe's approach to writing concertos may be discerned in his numeration: they are not grouped according to the solo instrument (e.g., Piano Concerto No. 1), but counted merely as Concertos in the sequence of their composition, regardless of the featured instruments. This suggests that the soloist's role is somewhat altered: still central as a leading part, but frequently incorporated into the orchestral mass as a coloristic instrument among many others. The Concerto No. 1 for piano and orchestra, Op. 17 (1939), clearly demonstrates Holmboe's procedure, for the piano switches back and forth between lyrical solos and more emphatically rhythmic passages as a percussion instrument. Holmboe's Concerto No. 3 for clarinet and orchestra, Op. 21 (1940-1942), also presents interesting mixtures of the instrument's distinctive tone with other timbres, most strikingly with the brass section. The Concerto No. 7 for oboe and orchestra, Op. 37 (1944-1945), is most beguiling in the many chamber-like, concertino combinations of the oboe with other woodwinds. Pianist Noriko Ogawa, clarinetist Martin Frost, and oboist Gordon Hunt strike the right balance with conductor Owain Arwel Hughes and the Ålborg Symphony Orchestra, since all give prominence to the leading part where Holmboe indicates, but equal attention to the ever-shifting background textures.

This recording presents Kaija Saariaho’s works for choir, a cappella and with electronics, and displays her virtuosity in the treatment of texts, which she endows with the full range of verbal expression. At least one of these works is also a discographic premières.