Notes and Editorial Reviews
Huré was born in Gien in 1877 and though his early years are
to a large extent shrouded in biographical silence, it’s known
that he was in Paris by 1895. Here he ran a concert series and
became a school founder (the École Normale de Musique – Cortot
founded one by the same name years later but there was no connection).
Huré was a composer, teacher, critic and musicologist. He also
aligned himself with Ravel, Koechlin and Schmitt against the
prevailing power of d’Indy and his disciples, who effectively
controlled the Société National de Musique.
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The Violin Sonata was completed by the time he was twenty-four.
Only published in its definitive edition in 1920, it’s a big,
four movement statement couched in a bold, somewhat diffuse
form. It shares something of Lekeu’s hothouse ethos and something
too of Fauré’s lyricism, though one would not mistake it for
the work of either composer at any time in their development.
It’s not that the development of themes is tentative or that
the writing is sometimes rather long-winded, more that the harmonies
are quite bracing, and it’s this that gives the sonata its sense
of individuality rather than obviously memorable thematic material.
Huré gives the violin some oratorical monologues, a number of
which are succulently heightened by Philippe Koch, a scion of
the Koch violinistic dynasty, who plays with great commitment
and care throughout. He and Marie-Josèphe Jude do their best
to minimise the discursive elements of the music and they do
particularly well in the second movement in which its athleticism
and vitality are ripely conveyed. The writing here is impassioned,
the piano’s rich chording supporting a soaring violin line.
Fanciful scherzos are a Gallic stock in trade and Huré doesn’t
disappoint and its dance warmth reminds one of Debussy. The
finale’s pirouetting remains unfocused, despite the lovely piano
melody – the best in the work – from about 6:30. The reflective
passage before the sprightly close is ingratiating.
After the often pleasurable but diffuse sprawl of the sonata
the Piano Quintet is a more concentrated work. It strives less
and reveals more as a result. Gone are the profusion of ideas
and in their place some winsome and highly attractive pastoral-carillon
and folkloric gestures. If this suggests a measurably more archaic
frame of reference I wouldn’t necessarily disagree. However
the mellifluousness of the writing demonstrates a distinct compositional
advance in the six years since the writing of the sonata. Once
again the performances are splendid. Koch is first violin of
the Louvigny Quartet and shows real affinity with the composer’s
idiom.
The recording is warm and well focused. And the fine booklet
note – in English and French – goes into considerable technical
detail regarding the works. The cover artwork is a delight.
-- Jonathan Woolf, MusicWeb International Read less
Works on This Recording
1.
Sonata for Violin and Piano by Jean Huré
Performer:
Marie-Josèphe Jude (Piano),
Philippe Koch (Violin)
Period: 20th Century
Written: 1900-1901
2.
Quintet for Piano and Strings by Jean Huré
Performer:
Marie-Josèphe Jude (Piano)
Orchestra/Ensemble:
Louvigny String Quartet
Period: 20th Century
Written: by 1914
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