As the booklet notes for this release point out, the lives of
the French female composers in this programme cover over a century,
from the birth of Louise Farrenc in 1804 which coincided with
the coronation of Napoléon Bonaparte, to the tragically early
death of Lili Boulanger in 1918 in the midst of “the collapse
of the world of yesterday”, as Stefan Zweig referred to the
horrors of World War I. As women, the composers represented
here all faced struggles against prejudice of one kind or another,
but the line also describes one of progress, seeing Lili Boulanger
as the first woman to receive the Prix de Rome.
That these composers names are still relatively unfamiliar in
the musical mainstream today is also some reflection on the
uphill nature of their image, but, heard ‘unseen’, there is
little or nothing which would categorise any of the work on
this disc as inferior to male contemporaries. That said, there
is also not a great deal here which is likely to shake the musical
world at its foundations. Louise Farrenc’s substantial Sonata
No.2 in A major Op.39 is both something of a classical or
early romantic academic exercise, following structures and melodic
gestures comparable with those of Mozart or early Beethoven.
The charming character of the music is so expertly and seamlessly
presented that one is both in awe at the technical brilliance
of the writing, while at the same time left wondering what if
any secrets might lie behind what is essentially a concert work
of purely abstract artistry of the utmost refinement. This is
a magnificent piece which is a grateful vehicle for virtuoso
musicians and a guaranteed crowd-please with which to open the
recital.
Lili Boulanger’s contribution here is a single miniature whose
weight of content belies its three-minute duration. A great
admirer of Debussy, Boulanger was on her way towards developing
a more personal style on her death at the age of 25, but the
Nocturne here owes some of its pianistic atmosphere to
Debussy, as well as the influence of Gabriel Fauré, who was
a family friend.
Pauline Viardot-Garciá, sister of the legendary singer Maria
Malíbran, enjoyed far greater longevity and wide fame as an
opera singer. Her compositional work was something of a sideline,
much of it intended for amateur concerts at her home in Baden-Baden,
where she rubbed shoulders with the likes of Schumann, Chopin
and Brahms. The Sonatine in A minor is an attractive
and highly proficient work, but, like the Six Morceaux is
designed to entertain with wit and elegant élan rather than
to express any profound emotions.
This is a very attractive programme of violin/piano music which
is off the beaten track, and as such it is a very welcome addition
to the catalogue. There are a few recordings of Louise Farrenc’s
chamber music around, but her Sonata No.2 doesn’t seem
to be well represented, and while Pauline Viardot-Garciá’s name
pops up from time to time it is Nadia Boulanger who is the better
known of those particular sisters. The disc is a bit on the
short side and it’s a shame Lili Boulanger isn’t further represented
with perhaps the energetic little Cortège for violin
and piano, or even one of her stronger works such as the remarkable
piano solo Theme et Variations, which would have more
than helped if thrown in for good measure. The frothy Viardot-Garciá
and strangely academic Farrenc pieces won’t do a huge amount
to further the reputation of female composers in the 19th
century. Never mind, Cybele’s recording is natural and convincing
if a little more distant than might be considered ideal, though
the SACD surround effect enhances a generous feeling of the
acoustic. Annette-Barbara Vogel and Ayako Tsuruta both perform
with verve and the kind of conviction which makes this music
believable, and this recording a winner qualified only by a
certain lack of potential but untapped further repertoire.
Dominy Clements
Annette-Barbara Vogel (violin), Ayako Tsuruta (piano)
[58:46] 
