Fauré: Complete Works for Violin & Piano Violin Sonatas Nos.1 & 2; Andante; Romance; Berceuse
- 艺人
- Gabriel Fauré
- 语种
- 其他
- 厂牌
- DECCA
- 发行时间
- 2004年09月13日
- 专辑类别
- 录音室专辑
专辑介绍
C'EST JUSTE
By DAVID BRYSON (TOP 1000 REVIEWERVINE VOICE), August 6, 2009
This is something close to ideal. I don't suppose for a moment that it requires French players to interpret Faure, but I don't suppose it does any harm either. What I particularly admire about these accounts of Faure's music for violin and piano is not just the sense for his inward and elusive idiom but the impression of command in the actual execution. Much though I admire the Domus group in Faure's piano quartets, I have always felt a slight lack of firmness from the pianist. I did not expect any such lack from Pascal Roge, nor am I disappointed here. I am pretty sure that if you take the scherzo-like movements from the first quartet as done by Domus, and the corresponding movement - very similar in style - in the first sonata here you will appreciate instantly what I mean. It is not a matter of forcefulness, which is not Faure's style, just a feeling of easy grip and assurance.
So far as I know we have all Faure's music for this particular combination here. There are two sonatas, separated by 40 years and 95 opus-numbers and thus giving us a clear snapshot of the composer's artistic development. In addition there is a brief 'morceau de concours', an andante with an opus-number that suggests it is from somewhere near mid-point in his career, and two early works, a Romance and the well-known Berceuse. The comments in the liner note seem to me fairly sound and helpful in terms of how Faure's style progressed over the years, although you may not find them the last word in clarity. I detect two developments in particular - one a lessened definition and separation of distinct 'themes', the other an increasingly 'mandarin' and unstraightforward harmonisation. Faure was really one of the subtlest and most original harmonists there ever was, and it makes his writing, or at least his piano writing, a lot more difficult than it probably sounds because of his way of taking one's fingers in directions they are not expecting to go. In terms of his approach to the traditional 'sonata form' which is often talked about as if it were some pinnacle of musical creation rather than what it is - a simple and flexible plan for putting together a large-scale instrumental composition - I give Faure full marks. He applies real thought and creativity to the process and spares us the tedious 'transitions' and laboured 'developments' that are the bane of lesser 19th century efforts, and in case you hadn't noticed (I hadn't) he was only 4 years younger than Dvorak. I make no value-comparisons, but there is a world of difference in the two artists' approaches to this piece of inherited ritual.
This is just one of those records. I have not a word of criticism to make of either performance or recording. And the composer is one whom I love dearly.
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