Hungarian-born bassoonist Bence Bogányi comes from a musical
family - his brothers are the better-known pianist Gergely and
cellist/conductor Tibor. This appears to be Bence's first solo
CD.
As important works in the bassoon repertoire, all items on this
release have been recorded before, and some have even appeared
together a few times on other similar French-themed 'concept'
albums - see recent reviews here
and here,
for example.
Opening the programme, the Bassoon Sonata in G by Saint-Saëns
is probably the best-known work on the disc, a staple of every
bassoon recitalist. Rather poignantly, this was Saint-Saëns's
very last published work; incredible to think that a work of
such vitality and originality was written by an 85-year-old
who knew he was close to death - so close indeed that he never
got to hear a performance. The graceful, wistful Adagio makes
a fitting swansong.
Roger Boutry's faintly jazzy Interférences I - incorrectly
spelt "Enterférences" in the track-listing - is by
far the most recent work on this disc, yet the four brief sections
- each a bit longer than the one before - are nonetheless as
widely appealing as they are imaginative, particularly the carefree
finale, which is as French as a packet of Gauloises,
but much healthier. Alexandre Tansman's Sonatine is a
highly virtuosic work, although the technical difficulties are
masterfully concealed in three movements that are full of good
humour, nostalgic melody and lilting energy.
The two shortest works in the programme, veteran composer Marcel
Bitsch's Concertino - which incidentally also exists
in an orchestral version - and Henri Dutilleux's Sarabande
et Cortčge, are very attractive, and surprisingly similar,
admixtures of almost elegiac intimacy and refined virtuosity
and balance.
The final work, Poulenc's early Trio, is perhaps a little
out of place here, because much of its appeal is undoubtedly
attributable to the lighter texture provided by the oboe. Nevertheless,
it is far from unwelcome: an irresistible work, teeming with
melody colour, symmetries and charm, and German oboist Clara
Dent is a match for Bogányi's understated technique.
The accompanying glossy booklet is nicely detailed, but the
nine separate colour photos of Bogányi might be considered de
trop. Dent also has five photos, even though she only appears
in the Poulenc! Neither track timings nor work dates nor composer
dates are given anywhere; this latter is particularly counter-productive
- not every potential buyer is going to be familiar with Boutry
or Bitsch, perhaps not even with Tansman or Dutilleux.
Nevertheless, these are minor distractions. Bogányi's intonation
and technique are excellent throughout, and Brigitte Engelhard's
piano provides sterling support in a programme that adds up
to a Fagott dish that is a real cordon bleu treat.
Byzantion
Collected reviews and contact at reviews.gramma.co.uk
Track-listing
Camille SAINT-SAËNS (1835-1921)
Bassoon Sonata in G, op.168 (1921) [12:48]
Roger BOUTRY (b.1932)
Interférences I (1972) [9:20]
Alexandre TANSMAN (1897-1986)
Sonatine (1952) [8:53]
Henri DUTILLEUX (b.1916)
Sarabande et Cortčge (1942) [6:55]
Marcel BITSCH (b.1921)
Concertino (1948) [7:11]
Francis POULENC (1899-1963)
Trio for oboe, bassoon and piano (1926) [12:40]
Bence Bogányi (bassoon) 
