The present Phaedra
release (In Flanders’ Fields 38)
is entirely devoted to works for string
orchestra by Flemish composers of different
generations and stylistic horizons,
Paul Gilson being – as it were – the
Grand Old Man. As an influential pedagogue,
Gilson exerted a major influence on
a number of Belgian composers of the
early 20th Century. The "Synthesists",
as they called themselves, were all
pupils of Gilson. His reputation as
a pedagogue, however, somewhat obscured
his compositional achievement that was
far from negligible. His best-known
work is the orchestral suite De
Zee ("The Sea" – 1891)
that was recorded during the LP era,
whereas Frederik Devreese recorded it
in CD format for Marco Polo several
years ago (8.223039). His output includes
a number of works for wind and brass
bands as well as two saxophone concertos.
His rhapsody Alla marcia
was written at about the same time as
De Zee, and is a most
attractive example of Gilson’s music,
steeped in late Romanticism as well
as nodding towards some contemporary
trends of its time. The march-like sections
sometimes bring early Holst and Bridge
to mind, whereas the slower sections
are redolent of Borodin. This lovely
work is an enjoyable miniature of great
verve. Meulemans is one of the first
significant Flemish composers who overtly
embraced Impressionism and, thus, freed
Flemish music from the then prevailing
German Romanticism. His Adagio
in C (1939), which is new to
me, is a deeply felt elegy of great
expressive strength conspicuously free
from sentimentality. A most welcome
addition to this composer’s discography.
Frits Celis (seventy
this year, 2004) and Raymond Schroeyens
(also seventy this year) represent the
first generation of modern composers
in Flanders. After a long and busy career
as conductor and pedagogue, Frits Celis
has consistently and regularly composed
since his retirement. His present output
includes works in almost every genre,
with the notable exception of opera,
which is the more surprising since he
spent many years as conductor both at
the Monnaie in Brussels and at the Flemish
Opera in Antwerp. His Fantasia
sopra qualche vecchie canzoni Fiamminghe
Op.45b, composed in 1993 originally
for flute, clarinet, horn and bassoon
and arranged for strings the same year,
is a free rhapsody on some old Flemish
songs in which the composer avoids the
all too easy trap of mere harmonisation.
He turns his work in a short tone poem
of some sort evoking the different moods
suggested by the folk tunes. (Incidentally,
there also exists a version for clarinet
quartet [Op.45c – 1994] and another
one for saxophone quartet [Op.45d –
1997].) Raymond Schroeyens may be better
known (i.e. in Belgium) as an organist
and a harpsichordist, but he is also
a most distinguished composer in his
own rights, and his Al di la del
Sonno ("Beyond the Dream")
is the most substantial work in this
selection. The first panel of this diptych
(Ombre erranti) beautifully and
atmospherically evokes the souls’ sorrowful
roaming (march-like pizzicati) and the
uncertainty of their quest (eerie harmonics,
flageolets, etc.) whereas the second
panel (Ombre beati) concludes
in hard-won peacefulness.
Younger generations
are represented by Wilfried Westerlinck
(born 1945) and Piet Swerts (born 1960).
Westerlinck has composed five works
so far, all sharing the same title (Landschappen,
i.e. ‘landscapes’ in Dutch) for various
instrumental combinations. (Landschappen
IV for flute, harp and string
trio is available on Phaedra 92012.)
All these pieces are purely abstract
works evoking moods rather than impressions.
Landschappen II, composed
in 1979 and arranged for twelve solo
strings in 1991, is no exception. The
short introduction opening with a nine-tone
chord that will keep recurring throughout
the whole piece, albeit in various guise,
leads into the main part of the piece,
which – as a whole – may be experienced
as a set of variations of some sort.
Piet Swerts is a versatile composer
with a substantial body of works to
his credit, ranging from short piano
pieces the whole way through to grand
opera (Les liaisons dangereuses
of 1994-1996) and large-scale oratorio
(St. Mark Passion of 1988),
in which concertos feature generously
: three piano concertos (1984, 1986
and 1991), of which the second Rotations
was the test piece for the finals of
the 1987 Queen Elisabeth Competition,
a violin concerto Zodiac
(1992) that was the test piece for the
1993 Queen Elisabeth Competition, a
guitar concerto Capriccio
(1986), a Concertino for
double bass quartet and orchestra and
a Cello Concerto (1996), as well as
two symphonies (1990 and 1997). His
superbly crafted music primarily aims
at direct communication, without writing
down to its audiences. It clearly belongs
to the 20th Century mainstream,
often nodding towards Bartok. (Swerts
also often refers to the music of Dutilleux
as a model.) This is particularly clear
in his magnificent Droombeelden
("Dream Images") for strings
that falls into two parts of fairly
equal length (Prologue and Nocturne).
The Prologue, subtitled De verschrikking
("Terror") opens in a violently
troubled mood and moves towards a deceptively
calmer section before reverting to the
mood of the opening, whereas the Nocturne
(subtitled Een zweem of hoop,
i.e. "A shimmer of hope")
attempts at alleviating the dark, sorrowful
mood of its opening. The hymn-like coda
contains some of the finest music that
Swerts has ever penned.
So, in short, this
recent Phaedra release is a marvellous
cross-section of splendid works, all
beautifully crafted and deserving wider
exposure. These performances are quite
fine, as far as I can judge. This is
one of the loveliest discs that I have
heard recently and one I warmly and
unreservedly recommend.
Hubert Culot
Czech Virtuosi Chamber Orchestra, Brno/Edmond
Saveniers 