The first instalment in the works of the French Harp School from
label Harp & Company, is, fittingly, of the works of the Vicomte
de Marie-Martin Marcel, who founded the School. According to the
helpful liner-notes, Marcel’s students included other influential
harp instructors for London’s Royal Academy and the Paris Conservatoire. An early adept at the harp,
Marcel found, in his early teens, that he would do just as well
to instruct himself. Out of the country during the Revolution,
his properties were seized. Considered by the government an absentee,
his time trying to get re-entry into France was spent in England, where he achieved some prominence. All ended well —
his properties in France were returned to him and he was able to resume his career
in his native country.
The opening Nocturne for harp and
string quartet is his only piece for such an ensemble. It begins
as a sort of dreamy barcarolle, with the strings providing snatches
of thematic material as the harp slowly arpeggiates. The strings
give way for the proper entrance of the harp. The lines of the
opening movement are clean and the piece overall has a wonderful
sense of poise and balance. The Minuetto movement that follows
reminds one of the Handel Op. 4 No. 6, if not in the overall
instrumental forces, then in the general tone of the movement.
The final Rondo, however, requires a good deal more from the
harpist than the Handel, with constant movement, all while demanding
utmost clarity. The piece is light on its feet, and shuns heavy-handedness
as well. Rachel Talitman strikes a perfect balance with the
ensemble.
The first of the two Trios, based on themes
by Mozart, starts with a delightfully graceful adaptation of
the Andante movement of K542, followed by the famous
alla Turca movement from the Piano Sonata No. 11, K331.
The version found here on this disc doesn’t achieve quite the
vibrancy of the original in its coda, but remains an immensely
enjoyable listen.
The second trio borrows exclusively from
Mozart’s chamber music, with an opening Adagio based
on the slow movement of the K 254 piano trio, with the harp
taking the keyboard role, followed by a variations movement
based on K 481. What strikes the listener in both movements
is the poise of the adaptation — the first trio has the greatest
immediate appeal, but the second — especially the variation
movement — shows wonderful sensitivity to the original and has
been a favourite of this reviewer for repeated listening.
Closing out the disc is the Grande
Sonate for unaccompanied harp, which, like the Op. 14 Nocturne,
opens with a slow introductory adagio, wonderfully played by
Talitman, followed by an allegro movement with technical demands
aplenty. As with the other pieces on this disc, the writing
and the playing never fail to delight. One of the illustrations
in the book is of the title page of the duets, which also evidently
included a duet for two performers on one harp. Perhaps that
will show up on volume two. As for this reviewer, what is on
this disc is certainly enough to have me looking forward to
future releases. Other intriguing releases of harp repertoire
can be found on their website.
David Blomenberg
