Pierné was a most distinguished composer whose varied and often
substantial oeuvre is now being re-appraised. This is mainly
thanks to Timpani’s recordings. He was a pupil of Marmontel
and even envisaged a career as concert pianist. As might thus
be expected he composed a good deal of piano music although
the bulk of it was written before 1900. His mature output for
the piano is quantitatively limited. On the other hand it is
far from negligible in musical quality as may be gathered from
this release. All works, but one, date from his mature years.
The earliest work here – and the only one that may be related
to his initial output for piano – is the brilliant Etude
de concert Op.13. It was composed in 1887 at the time
when he was still contemplating a career as a performing artist.
As may be expected, this is a highly virtuosic piece, albeit
one full of nice subtleties.
When listening to the Trois pièces formant suite de concert
Op.40 one may evaluate the considerable progress that
he made over the intervening years. In this substantial work
Pierné proves himself closer to many of his contemporaries.
The music is still quite brilliant and virtuosic but also calls
for deeper musicality. It may be both interesting and teasing
to know that this significant work is the sole remnant of a
large-scale project cherished by Pierné. Sadly it was left incomplete
partly because of the composer’s involvement as a conductor.
The three movements are neatly characterised and do not share
any common material. Each one has its own characteristic so
that the whole forms a hugely varied triptych. The first movement
Preludio e fughetta clearly harks back to French keyboard
music of the 18th century. The second, Nocturne
en forme de valse is definitely more akin to music from
the early 20th century. The suite is then capped
by a glittering Etude symphonique, another brilliant
piece of piano writing paving way towards Pierné’s unquestionable
masterpiece for piano, the Variations en ut mineur Op.42.
This is an ambitious piece displaying formal and technical mastery
to the full. The composer’s imagination seems limitless and
the music unfolds almost effortlessly through a series of contrasting
episodes eventually capped by a brilliant coda. In many respects
Pierné’s Variations may be compared to that other
large-scale masterpiece of piano music: the Dukas Variations,
interlude et finale sur un thème de Rameau
composed some ten years earlier.
Pierné’s last piano work is the imposing Passacaille Op.52
composed in 1932. Pierné’s imagination and technical assurance
is again much in evidence in what is – in some ways – another
set of variations.
As a composer Pierné remained faithful to a number of values
inherited from some of his teachers such as Franck and Massenet.
Nevertheless he found his own way to break away from a rigid
musical education. His music in fact displays a most refreshing
quest for renewal without ever trying to be revolutionary.
Laurent Wagschal has already demonstrated his liking of and
affinity for French music. Here again his deep empathy for the
music and his superb technique and musicality pay high dividends.
He obviously loves the music and plays it with assurance and
conviction that I find hard to resist.
This beautifully produced released is another feather in Timpani’s
cap and brings Pierné’s beautifully crafted music to wider exposure.
It is too fine to be ignored.
Hubert Culot
Laurent Wagschal (piano)
