Notes and Editorial Reviews
Recueil de Chants
Opp. 38 & 65.
Une fusée: Introduction et Impromptu
Stephanie McCallum (pn)
TOCCATA 0157 (71:14)
The music of Alkan always brings delights. His whole output could be likened to a multifaceted jewel. Classical gestures, baroque purity and romantic excess are all melded into a magnificently bewildering whole. It would appear Australian pianist Stephanie McCallum is expertly
equipped to explore this labyrinth. She is associate professor of piano at Sydney Conservatoire and, pertinently, has studied in England with the renowned Alkan expert Ronald Smith. She is no stranger to Alkan in the recording studio either: Her account of the op. 39 Etudes is available on ABC Classics, while the first recording of the 12 Etudes in all the Major Keys, op. 35, is on Tall Poppies. The booklet gives an absolutely full discography of her Alkan activities in the studio.
The volumes of the
Recuil de Chants
we have here (Volumes 4 and 5 are to follow on the second disc) paint a more subtle picture of Alkan than the Etudes (which latter, perhaps predictably, explore the more virtuosic). The five books of
Recuil de Chants
were composed between 1857 and 1872. Each is modeled on Mendelssohn’s book of
Lieder ohne Worte
, op. 19b; as such it is a tremendously fascinating example of one great composer taking wing from another great composer’s template.
The sheer variety of what to expect is laid bare in the first book. The first movement (which shares its opus number with the second book) begins with an
, which features a fluid, mellifluous line that invokes Mendelssohn while touching tangentially on Chopin. McCallum delivers this with a lovely singing line before embarking on the Bachian purity of the next movement (“Sérénade”). Here, there is a Scarlattian tinge to the top line; the third movement is called “Choeur” but could easily have been called “La Chasse,” with all those galloping rhythms. A tissue-delicate “L’Offrande” (The Prayer) includes bell references, while the fifth moves far more into romantic territory (approaching, but not quite reaching, Scriabinesque vocabulary). The set ends with a simply gorgeous “Barcarolle,” Chopin with an occasional staccato edge.
The second book begins with a “Hymne,” which does exactly what it says on the tin. The second movement,
, is as Peter McCallum, the booklet annotator tells us, “an essay in obstinacy: ” one note (the submediant) remains in the alto voice throughout, regardless of what goes on around it. The effect is that of a slightly derailed Mendelssohn
. As interesting is the fourth movement, a “Procession-Nocturne” with its walking (really, trudging) bass line. A restrained, but pure toccata-like
appears before a final movement, marked
Quasi da lontano
and delivered by McCallum as exactly that.
The third book was published around 1866. It opens with a wonderfully fluent movement filled with long lines that seem to reference Schubert more than Mendelssohn. McCallum’s playing is exemplary, her projection of the melody just right, her realization of the piece’s aura simply beautiful. The language of the next movement, “Esprits follets,” points far further forward, although its inspiration is clearly from Mendelssohn. The world of drawing room vocal duets comes to the fore for “Canon” (it is some way more relaxed and intimate than its title might imply to some readers): McCallum shades the music’s wafting to and fro perfectly before introducing Alkan’s take on Schumann in the next movement
. The more intriguingly titled “Horace et Lydie” embarks on a syllabic setting of an ode by Horace (helpfully reproduced in the booklet). Alkan’s music is of remarkable expressive breadth, taking in Mendelssohn-fragile through to a heroic coda, all in the space of less than four minutes. Another flowing
concludes, although to refer to it in just those terms is to do it a disservice. It is every inch the worthy partner of its fellow movements, exquisitely crafted and tender.
Finally, the world premiere recording of
Une fusee: Introduction et Impromptu
of 1859. The
is in itself no mere preamble. Alkan sets up a rocking motion underpinned by (to my ears) slightly sinister bass interjections that is to return during the course of the
The title probably refers to spinning and weaving, so some sort of reference to Schubert’s
Gretchen am Spinnrade
is almost certainly not out of place. The
is a terrific flight of fantasy that surely only Alkan could have penned. McCallum exhibits fine virtuosity, not least in the somewhat Lisztian coda.
A remarkable disc; one that I for one will not forget in a long while. The generous annotations are just as expert as the playing.
FANFARE: Colin Clarke
Works on This Recording
Troisième recueil de chants, Op. 65 by Charles Valentin Alkan
Stephanie McCallum (Piano)
Written: circa 1870; France
Venue: Recital Hall West, Sydney Conservatorium
Length: 18 Minutes 41 Secs.
Premier recueil de chants, Op. 38: No. 1. Assez vivement
Premier recueil de chants, Op. 38: No. 2. Serenade: Quasi-allegretto
Premier recueil de chants, Op. 38: No. 3. Choeur: Allegro
Premier recueil de chants, Op. 38: No. 4. L'Offrande: Andantino
Premier recueil de chants, Op. 38: No. 5. Agitatissimo
Premier recueil de chants, Op. 38: No. 6. Barcarolle: Andante
Deuxieme recueil de chants, Op. 38: No. 1. Hymne: Adagio
Deuxieme recueil de chants, Op. 38: No. 2. Allegretto
Deuxieme recueil de chants, Op. 38: No. 3. Chant de guerre: Allegro
Deuxieme recueil de chants, Op. 38: No. 4. Procession-Nocturne: Andantino
Deuxieme recueil de chants, Op. 38: No. 5. Andantino
Deuxieme recueil de chants, Op. 38: No. 6. Barcarolle en choeur: Andante
Troisieme recueil de chants, Op. 65: No. 1. Vivante
Troisieme recueil de chants, Op. 65: No. 2. Esprits follets: Prestissimo
Troisieme recueil de chants, Op. 65: No. 3. Canon: Assez vivement - Assez doucement
Troisieme recueil de chants, Op. 65: No. 4. Tempo giusto
Troisieme recueil de chants, Op. 65: No. 5. Horace et Lydie: Vivacissimo
Troisieme recueil de chants, Op. 65: No. 6. Barcarolle: Assez lentement
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