As far back as the
mid-1960s and the mid-1970s, Erato recorded
a number of major works by Ohana. This
went on during the CD era, so that Ohana’s
music has been available in commercial
recordings fairly regularly. More recently
still, his discography has grown considerably
with several new recordings by several
record companies (Timpani, Calliope
and Opus 111), so that most of his major
works are now currently available. Some
of you may remember that I
reviewed three fairly recent Timpani
releases of his orchestral music some
time ago. A number of pieces still await
recording, either new ones or further
re-issues; in this respect I still hope
that Philips might re-issue their recording
of Les Trois contes de l’Honorable
Fleur, now long deleted.
Ohana’s composing career
might roughly be split into three different
periods: an early ‘Spanish’ period culminating
in the guitar concerto Tres Graficos
(once recorded, but now no longer available),
Lanto por Ignacio Sánchez
Mejias and Cantigas;
a more radical and experimental middle
period that produced works such as Syllabaire
pour Phèdre (1966/7),
Signes (1965), Cris
(1968/9) and Chiffres
de clavecin (1968): and a final
period in which the mastery gained over
the preceding years allowed Ohana to
compose with complete freedom and perfectly
accomplished expression as is clearly
heard in his late masterpieces such
as Anneau du Tamarit (1976),
Livre des prodiges (1978/9),
the second cello concerto In dark
and blue or the Piano
Concerto (1981).
Both Llanto
and Cantigas are the unquestionable
masterpieces of Ohana’s "Spanish"
period. These powerful scores are quintessentially
Spanish in tone and soul, though conspicuously
free from any all-too-easy picturesque
quality. The music goes straight to
the very heart of Spanish music as can
be experienced in cante jondo,
for example; and possesses a formidable,
often rugged energy, miles away from
the postcard clichés heard in
lesser, more superficial works. This
is sun-drenched Spain, not without some
latent violence or brutality (Llanto)
or with some forceful mysticism (Cantigas).
The present performances are remarkably
fine, although they inevitably have
to compete with some more recent recorded
performances : Cantigas
on Pierre Verany PV787032 and Llanto
on Calliope CAL 9877, both conducted
by Roland Hayrabedian who has steadfastly
championed Ohana’s music over the years,
mainly with the ensemble Musicatreize.
Syllabaire pour
Phèdre (1966/7), Cris
(1968/9), Signes
(1965)and Chiffres de clavecin
(1968) date from Ohana’s middle period;
and are all rather more experimental
and complex in many respects, but never
gratuitously so, for Ohana always aims
at expression whereas the technical
aspects of the music are just possible
ways to achieve expression. True, most
pieces from this important period of
Ohana’s musical progress are quite demanding,
I mean, on the performers’ and the listeners’
part; but – again – never intractably
so. Ohana’s aural imagination and vital
rhythms are such that these pieces never
sound as dry, matter-of-fact experiments.
Syllabaire pour Phèdre,
actually some sort of chamber opera,
exploits the many possibilities of the
human voice as a musical object; as
does the choral piece Cris
("Shouts") composed immediately
after the so-called May 1968 events
that shattered France as never before
in this country’s history, i.e. after
the revolution of 1789. The instrumental
works also explore a wide range of techniques
such as aleatoric, extensive use of
percussion and micro-intervals (often
through the use of third-tone zither,
a favourite instrument that Ohana used
quite frequently throughout his career).
But, again, the difficulty and complexity
of these pieces are generously compensated
by some powerfully expressive strength.
Messe
(1977), the first cello concerto Anneau
du Tamarit (1976) and the extraordinary
Livre des prodiges
(1978/9) are fully representative of
the output of Ohana’s full maturity.
He is now full master of his aims and
means, and able to compose in complete
freedom giving full rein to his imagination.
He also now allows exotic rhythms into
his music, that considerably enlarge
his rhythmic palette and that often
characterise his late works. The impressive
Livre des prodiges,
some sort of present-day comment on
The Rite of Spring, powerfully
conjures-up some ages-old and mysterious,
subterranean rituals in most vivid orchestral
terms without ever imitating Stravinsky’s
masterpiece. This is – as far as I am
concerned – one of Ohana’s masterpieces,
and one of his most accessible major
works. The Lorca-inspired Anneau
du Tamarit, too, clearly demonstrates
Ohana’s deeply felt lyricism without
compromise or sentimentality. It is
a most moving piece that never fails
to make its mark. Messe exists
in two versions, viz. one for concert
use (heard here) and one for liturgical
use. It perfectly illustrates Ohana’s
ability to write simpler, but immensely
rewarding music, again without writing-down
or compromising.
This worthwhile and
most welcome compilation is completed
with some chamber works such as Sorôn-Ngô
for two pianos, three pieces for harpsichord
superlatively played by Elisabeth Chojnacka
(who else?) and the impressionistic
Sacral d’Ilx for oboe,
horn and harpsichord (i.e. the instrumental
combination that Debussy had planned
for his fourth sonata that he did not
live long enough to write).
All performances are
consistently fine (many of these recordings
were made under the composer’s supervision),
played by musicians that had a long
association with the composer and his
music; and the recorded sound is still
admirable.
Ohana’s music is not
easy, for sure; but it possesses a remarkable
power to impress, to question and –
more importantly – to communicate. He
was a highly personal, sincere and utterly
honest composer who painstakingly ploughed
his furrow regardless of any current
fashion, but who remained attentive
to what was going on around him as a
musician and as a man. This release
provides a fair introduction to Ohana’s
personal sound-world; and, as such,
is warmly recommended to anyone who
might like to explore this important
composer’s music at lesser expense.
My bargain of the month.
Hubert Culot
Mady Mesplé (soprano)a; Hanna
Schaer (soprano)c; Isabel Garcisanz
(mezzo-soprano)ce; Michel Jarry (baritone)d;
José Luis Gómez (speaker)d;
Elisabeth Chojnacka (harpsichord)hklm;
Alain Meunier (cello)i; Geneviève
Joy, Jacqueline Robin (piano)j; Choeur
de l’ORTFabe; Choeur de Radio Francec;
Ensemble "Ars Nova"adef;
Orchestra National de Francegi; Nouvel
Orchestre Philharmonique de Radio Franceh;
Marius Constantaf, Marcel Couraudbe,
Guy Riebelc, Theodor Guschlbauerd,
Stanislaw Skrowaczewskig, Marc Andraei
