Born in Paris in 1957, Olivier Chassain is a graduate of the
Paris Conservatoire where he now teaches. Active as both performer
and composer, he is perhaps best known for his advocacy of contemporary
repertoire for his instrument, this particular disc bearing
evidence of a thoughtful, adventurous performer and featuring
a number of works that have some kind of personal connotation
for him.
Interestingly the Henze, with which the disc
opens, is undoubtedly the least characteristic of the works,
comprising a set of three interludes drawn from his early Kammermusik
of 1958. It demonstrates none of the harder-edged qualities
that are associated with his later style, instead showing the
influence of the composer’s Italian surroundings (he resided
near Naples at the time). The third piece is particularly appealing,
being reminiscent of a Neapolitan song (sample one track three)
and it is no surprise having listened to them that, as Chassain
comments in the booklet note, these little pieces have become
something of a programme mascot for him.
At the other end of the scale, Toru Takemitsu’s
All in Twilight, is highly characteristic of the Japanese
master, his four short movements inspired by Paul Klee taking
the listener on a journey from the stillness and darkness of
the first two pieces to the light and liberation of the final
two. As always with Takemitsu there is the feeling of an immensely
practical craftsman at work and these at times almost bluesy
pieces are not only amongst the finest on the disc but also
receive a beautifully delicate, even loving, performance from
Chassain.
Of the composers who are well known for their
contribution to the guitar repertoire, the names of Leo Brouwer
and Stephen Dodgson stand out. Brouwer also has the distinction
of being an extraordinary figure in the musical life of his
native Cuba, where he directs the music department of the Conservatoire
in Havana. A guitarist himself, few composers know how to get
inside the technique of the instrument as he does and this set
of six highly personal Preludios Epigrammaticos, each
of which bears a dedication to his friends including his wife,
were originally inspired by the form of the Japanese Haï-ku.
Where Brouwer’s work is essentially serious, Stephen Dodgson,
the only British composer represented, gives us an enjoyable
set of variations on the opening "fantasy" in his
Fantasy Divisions, highly polished and perhaps amongst
the most contrasting of the works on show here, they are also
deceptively challenging technically (sample two track twenty
two). Although his name may be less familiar to those who would
not consider themselves guitar aficionados, Antonio Ruiz-Pipó
has produced a considerable quantity of music for the instrument,
including three concertos. Pipó has lived in France for
many years although he was born in Spain and his "Autumnals",
premiered by Chassain in 1995, still betray his Andalucian heritage
(sample three track twenty five). Each of the five pieces is
inscribed to a dedicatee of which the first is Chassain himself.
Chassain’s own contribution, Étoiles,
is as you would expect, highly accomplished in its writing for
the instrument but more than this is also a sophisticated work
in its own right. Where all the other works have a reasonably
detailed introduction in the booklet notes, Chassain chooses
(we will assume his modesty prevented him) not to give any background
to the piece, suffice to say that it is one of the most substantial
pieces on the disc, the first movement, "Skyline"
sustaining interest admirably through its duration of a little
under seven minutes. The briefer concluding "Feux Follets"
is particularly impressive in its contrasting character.
The name of Georges Delerue was new to me,
his reputation being primarily that of a film composer with
The Day of the Jackal and A Man for all Seasons
being amongst his major successes. Graphic must have
been one of the final works he composed for he never heard it,
yet its dedication to Chassain clearly gives it a very personal
place in the performer’s repertoire. Accessible yet with a vein
of underlying seriousness it is one of the more intriguing works
on the disc. Concluding the disc with Edith Lejet’s Almost
a Song was obviously a very conscious decision by Chassain
as this is the most immediately "tough" work in its
language. It is also the only piece to make use of the viola,
with some interesting effects for both players. The somewhat
quizzical, I suspect tongue in cheek, ending of the piece is
guaranteed to raise a few eyebrows.
This is a thoughtfully prepared disc in both
performance and repertoire. There can be few collections of
contemporary guitar music that share the same diversity and
Olivier Chassain is clearly a fine advocate of music that he
plays with commitment and passion. The recorded sound is close
(Chassain’s breathing is very obvious at times) but this does
not detract from an intimate listening experience.
Christopher Thomas
Olivier Chassain
(guitar) Pierre-Henri Xuereb (viola) 