Franck Symphonic Variations
Performances of piano masterpieces that are Franckly outstanding
View record and artist detailsRecord and Artist Details
Composer or Director: César Franck
Genre:
Orchestral
Label: Naïve
Magazine Review Date: 9/2010
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: V5208
Tracks:
Composition | Artist Credit |
---|---|
Prélude, choral et fugue |
César Franck, Composer
Bertrand Chamayou, Piano César Franck, Composer |
Symphonic Variations |
César Franck, Composer
Bertrand Chamayou, Piano César Franck, Composer Royal Scottish National Orchestra Stéphane Denève, Conductor |
Prélude, aria et final |
César Franck, Composer
Bertrand Chamayou, Piano César Franck, Composer |
(Les) Djinns |
César Franck, Composer
Bertrand Chamayou, Piano César Franck, Composer Royal Scottish National Orchestra Stéphane Denève, Conductor |
Prélude, fugue et variation |
César Franck, Composer
Bertrand Chamayou, Piano César Franck, Composer Olivier Latry, Harmonium |
Author: Jeremy Nicholas
Don’t let the pouting profile of Bertrand Chamayou that adorns the cover of this disc deter you (why do so many artists like to be pictured as if they have just encountered a mephitic corpse?). This is an outstanding release in every way. In fact, I cannot recall another that included all Franck’s masterpieces for the piano on a single disc and in which, moreover, every performance goes straight to the top of recommended recordings. The two great solo works (Prélude, choral et fugue and Prélude, aria et final) are in the Cortot-Hough class – and that is saying something – with Chamayou combining their textual clarity, warm and affectionate expression, and luminous piano tone. These are separated by Les Djinns (1884), Franck’s woefully neglected symphonic poem for piano and orchestra, which follows the linear shape of Victor Hugo’s poem more closely than its narrative of threatening familiar sprites. The Scottish players offer magnificent support and, after its hushed close, Naïve sensitively leaves a long gap before the succeeding Prélude.
Rarely has the Variations symphoniques (1885) progressed so happily from its sepulchral opening to exuberant conclusion (hear how buoyantly Chamayou handles the opening of the final allegro non troppo section at 10'19"). Finally, the gentle Prélude, fugue et variation, originally for organ, heard not in the piano transcriptions by Harold Bauer, Ignaz Friedman or Otto Mortenson but by the composer himself – for harmonium and piano. The great Oliver Latry might be mistaken here for the stereotype of a French accordionist but the effect is hauntingly lovely. Good booklet in which, quite rightly, even the piano technicians are credited.
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