Few record labels do as much as Profil Hänssler in promoting young
performers and here is an excellent recital release from violist Peijun Xu
and pianist Paul Rivinius. Peijun Xu who was born in 1985 in Shanghai,
China.
She attended the Shanghai Conservatory of Music then moving to Europe to
study at Hochschule für Musik und Darstellende Kunst Frankfurt am Main,
Germany. Her studies continued at the Kronberg Academy, Germany with Nobuko
Imai and then the Berlin University of Music ‘Hanns Eisler’ with Tabea
Zimmermann. Since 2011,
she has been teaching viola at Frankfurt University of Music and
Performing Arts. Her debut solo CD comprising works by Bach, Schubert,
Vieuxtemps, Chopin and Rebecca Clarke was released by Ars Produktion in
2012. This Profil Hänssler recording of works containing a powerful French
flavour with a Parisian connection is her second release.
Belgian composer Henri Vieuxtemps was a virtuoso violinist as well as a
composer and is mainly associated with the Brussels Conservatory. To
establish a connection to France and to Paris in particular he studied and
lived for a time in the French capital. I have read that he studied at the
Paris Conservatoire but I’m unsure about this. Vieuxtemps dedicated his
Sonata for viola and piano in B flat major, Op. 36 from 1861 to
King George V of Hanover. The three movement score — described as four
movements in the booklet essay — is highly agreeable with the opening
movement generally upbeat and undemanding if a touch overlong for its
material. Next comes a rocking
Barcarolla that feels relaxing and
contented. Continuing the undemanding mood the yearning
Finale
maybe represents the pain of parting from a loved one.
Born in the south of France, the highly prolific Milhaud studied at the
Paris Conservatoire living in the capital for many years. This pleasing set
of
Quatre Visages for viola and piano, Op. 238 from 1943 was
written for violist Germain Prévost of the Pro Arte Quartet. Milhaud gave
each of the
Quatre Visages a descriptive title. A
delightful piece No. 1
La Californienne is rather feminine in
quality embracing a degree of romantic longing that contrasts with the
rhythmic No. 2
The Wisconsinian, infused with the spirit of the
folk-dance
. The amenable No. 3
La Bruxelloise has a
contemplative quality with a touch of sadness; very different from No. 4
La Parisienne with its 'gai' and upbeat
disposition.
Fauré was born in the south of France but studied in Paris from the age of
nine. Spending most of his life in Paris Fauré served for some years as
director of the Conservatoire. Composed in 1893, the
Sicilienne
originally formed part of some incidental music and in 1898 was arranged for
cello and piano, Op. 78. Steadfastly admired this wonderfully expressive
work is often heard in arrangements and transcriptions including this
satisfying version for viola and piano. Maybe Fauré’s
Après un rêve
is not quite as well known as his
Sicilienne but it is equally as
charming. Containing one of Fauré’s most touching melodies
Après un
rêve is a sensitive arrangement of the first of his set of
Trois
mélodies Op. 7 for solo voice and piano.
Debussy was born near Paris and entered the Paris Conservatoire aged ten,
living in the city for most of his life. One of the most enduringly popular
works in all classical music
Clair de Lune is the third piece in
the
Suite bergamasque for solo piano. Although
Clair de
Lune is justly famous in its original solo piano form this arrangement
for viola and piano is a rewarding combination.
Franck was born in Belgium but studied privately in Paris where he was to
work for the majority of his life becoming a professor at the Conservatoire
there. Composed in 1886 the
Sonata for violin and piano in A major
is probably Franck’s masterpiece. A core work in the violin sonata repertory
it was composed as a wedding present for the renowned virtuoso Eugène Ysaÿe.
This arrangement of the
A major score for viola and piano works
extremely well and is one I will play often. The opening movement has a warm
passion. The following
Allegro is a windswept
Scherzo with
an inner conflict that feels non-threatening. The Third movement
Recitativo–Fantasia: Ben moderato is pensive, reflective in mood
with the famous songful
Finale so memorable for its melody and
stylistic fluency. Just a touch of untidy playing audible at 1:05-1:09
(track 14) makes not a scrap of difference to the overall performance.
Peijun Xu and Paul Rivinius can be suitably proud of their accomplished
playing throughout this desirable recital. It would take a heart of stone
not to be comforted by the hauntingly beautiful playing of Fauré’s
Sicilienne and
Après un rêve and by the heart-warming
rendition of Debussy’s
Clair de Lune. Written specifically for the
viola Vieuxtemps’s agreeable and undemanding
B flat major Sonata
commands suitably relaxed playing of charm and real finesse. In Milhaud’s
skilfully executed set of
Quatre Visages Peijun and Rivinius create
a captivating sound-world. Best of all is Franck’s
A major Sonata
which comes across far better than I had expected. Warmly responsive this
partnership conveys a palpable sense of heart-felt passion. Especially
impressive is their effective use of colour and dynamic.
The liner-notes and essay provide reasonable information. However, I would
have liked to have known who actually prepared the arrangements for viola
and piano. The sound quality is satisfying, warm, clear and slightly
forwardly balanced.
Michael Cookson
