By Steve Arloff
MusicWeb International
14-Apr-2011
This new disc of French “mélodies” embraces some rarely heard repertoire, including two world premieres. “Mélodie” is the term used to define French Art Songs from the mid-nineteenth century to the present as “lieder” describes the German equivalent. Evoking the heady days of the early twenties when excitement surrounded circuses, fairs, music hall, cabaret, the follies, and parades, these are charmingly presented songs from some of the most influential composers of the period. Their innovations put French music at the forefront in the twentieth century, even though the French themselves were seemingly more lukewarm than music-lovers in other countries.
The excellent liner-notes are by Joanne Barnes, one of the translators. They explain the historical background to these songs. Barnes shows that the songs are a musical expression of the self-confidence felt during ‘la Belle Époque’ (1890–1917). It was at this time that some of the world’s major inventions came about: radio receivers, manned aeroplanes, talking pictures, as well as the sale of the first Model T Ford. However, in the same period came the First World War. After this many couldn’t bring themselves to be favourably disposed towards music with such apparently frivolous musical and poetic content. However, this music was a conscious attempt to break away from the impressionist movement in music where composers such as Debussy “painted” with notes, and from the likes of Wagner whose operas were considered overbearing. This movement wanted instead, to dispense with the contemplative and reflect life as they saw and experienced it. In short they wanted to be active participants in depicting life in all its manifestations. Their aim was to distance themselves from “heavy-handed seriousness and write music that was witty, concise, and derived from popular culture”, as the liner-notes so aptly put it. At the centre of this movement was the inspiration of Erik Satie (1866–1925). His ‘revolutionary’ treatment of music is reflected especially in his piano pieces with their spare, economic writing. They are admired for their ravishing simplicity, and known for their often bizarre titles, such as “War-song of the King of beans” or “Three really flabby preludes”, written for a dog … and far from flabby. That said, the main composers involved with the movement were drawn from “Les Six”, a group which comprised Georges Auric, Louis Durey (1888–1979), Arthur Honegger (1892–1955), Darius Milhaud, Francis Poulenc and Germaine Tailleferre (1892–1983).
Auric, Milhaud and Poulenc are represented on this disc. The first tracks here are, however, by Henri Sauguet who is much less well-known than the others. A composer of over twenty ballets, including some for Diaghilev, operas, chamber works and four symphonies, Sauguet enthusiastically embraced Satie’s style; it was Satie who introduced him tomore....
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