Paul JUON (1872-1940)
Dancing Rhythms
Pieces Op. 14 (1900): Alla Marcia, Allegretto,
Tempo di Valse, Allegro, Allegro molto, Allegretto
con moto, Moderato [21:28]
Pieces op. 24 (1904): Allegro, Quasi valse lente,
Allegro non troppo, Allegretto, Moderato [22:43]
Pieces op. 41 (1908): Risoluto, Vivace molto,
Allegretto grazioso, Tanzende Quinten - Tempo di Valse Lente,
Tragischer Walzer, Appasionato [21:07]
Agnès Dubois-Chauvet and Igor Kraèvsky (piano)
rec. PNC Bank Recital Hall, Duquesne University, 24-27 November 2010. DDD
MINSTREL MLCD1001 [65:18]
Paul Juon attended the Imperial Moscow Conservatoire after which he extended
his studies in Berlin before briefly teaching violin and theory at Baku University.
He returned to Berlin and had much of his career there.
For this listener expectations of piano duets are of frivolous or companionable
music. Juon's three sets were written between 1900 and 1908. They challenge
preconceptions - at least mine. These pieces were recorded as part of the
Juon Duet Project and are a much more impressive proposition than the medium
usually portends. The development across the eight years is from a by and
large Brahmsian accent to a style chiming with that of Rachmaninov. There's
very little of the salon.
The op. 14 set moves from the grandeur of Brahms (in the first and last of
the set) to sauntering Malacca-cane twirling charm to Chopin evocative ballade
romance. The music is varied and tender with glinting notes striking through.
It is rewarding to hear and surely to play. It must have its challenges too
as the Godowskian spray of notes in No. 5 will attest. The Allegretto con
moto is cheerily warming - a Russian dance that is a little in the manner
of Tchaikovsky. It's a real little winner - a charmer.
The op. 24 pieces include a confidently Russian Allegro distinctive
for its minutely staggered note-pecking - a delightful effect. Also to be
relished is the mercurial yet ramrod dignity of the Allegro non troppo
- an ingratiating, sharply turned and accented piece of work. We finish
op. 24 with the sturdy, imperially tolled Moderato.
Op. 41 is yet more Russian. Time and again it is the influence of Rachmaninov
that is felt. The Risoluto makes for an exultantly swashbuckling echo
of an heroically energetic Etude-Tableau. Contrast this with the urbanely
whirling Vivace molto. It sounds for all the world like a turbo-charged
music box. Speaking of which the two players seem totally under the skin of
these pieces. The technical challenges have been well and truly trounced both
in obvious display and in tender nuance.
Juon's piano duets newly revived and in style. Will appeal to all who admire
Rachmaninov.
For more information about Paul Juon go to www.juon.org
Rob Barnett
Juon's piano duets newly revived and in style. Will appeal to all who admire
Rachmaninov.