Availability UVM Distribution

Guy Sacre (b. 1948)
Works for Piano
Billy Eidi (piano)
rec. 2021, Paris, France
PALAIS DES DÉGUSTATEURS PDD028 [71]

Billy Eidi has already been an eloquent advocate of the music of French composer Guy Sacre through the lamented Timpani label, for whom he recorded two piano discs (Volume 1 ~ Volume 2) and one dedicated to Sacre’s songs. Now he sets his best foot forward for Sacre with a new disc from what is, to me, a completely unfamiliar French label.

The eight Dernieres Chansons enfantines make clear that Sacre intended these to be songs about the quintessence of childhood rather than piece for children to play. Like all of the other pieces here they are in a style not that far removed from the solos of Debussy and Ravel; nothing as ‘advanced’ as Messiaen. They swirl and glint and speak without contrivance or even reaching for the oblique. Subtle they certainly are but the listener is not worked hard to discern their essence. One of the most affecting and subtle is the ‘Lentement, gravement’. If you seek the joy of childhood then this can be viewed through Sacre’s and Eidi’s lorgnettes in ‘Enjoué’.

The eight-minute Sonatine d'hiver, which is one of four three-movement seasonal sonatas written in the 1990s. It has the slow motion ‘Modéré’ as a highlight. Contrast this with Sonatine de Printemps which is pensive rather than rushing. The piano gains its lively summer lungs in ‘Modérément animé’ of the Sonatine d’été although as the work progresses Sacre reminds us that he is a poet of the slower tempi. ‘Lent’ returns us to that unhurried meditative pacing though with forays into faster crystalline writing. Sonatine d’automne continues the pattern. Sacre always looks below the surface moods to expose thoughts and moods seemingly common to all the seasons and their relentless progress toward dissolution.

The Treize Impromptus are similarly subtle and material to induce reflection while staying true to the mood names selected for each, including ‘Rapide’, ‘Vif et Léger’ (a very adroitly crafted piece), ‘Allegro’ (almost breathless at time) and ‘Sans Hâte’. There are two of the last so titled and the second rounds out the sequence with grace rather than shallow charm. A bell-like tolling dominates the desolate ‘Lentement’ and ‘Plutôt lent’.

There is nothing of the obvious showman about Sacre. The piano used by Eidi speaks directly in pristine sound and cleanly to the receptive listener. There is no interposed audio screen and Eidi obviously shares Sacre’s message across these short haiku-like pieces.

The text of the booklet is by Robert Bared in the original French with a translation by the ever-reliable John Tyler Tuttle.

Rob Barnett

Contents

Dernieres Chansons enfantines
1. Allegre 2:13
2. Modere 1:49
3. Lentement 2:24
4. Joyeux et bruyant 2:12
5. Lentement, gravement 2:13
6. Enjoue 2:25
7. Doucement, simplement 1:45
8. Vif et joyeux 1:45
Sonatine d'hiver
9. Moderement anima 4:11
10. Moderé 2:16
11. A la gigue 2:42
Sonatine de printemps
12. Madero 2:36
13. Tranquille et heureux 2:01
14. Allegre 2:01
Sonatine d'ete
15. Moderement anima 3:15
16. Lent 3:3 4
17. Allegrement 3;16
Sonatine d'automne
18. Agite 2:10
19. Lent, sans rigueur
20. Vivement (Valse oublieuse) 3:50
Treize Impromptus
21. Vite 1:39
22. Calme et pensif 1:41
23, Rapide 0:45
24. Sans hate 9:05
25. Modere 1:08
26 Anima 1:14
27. Lentement 1:38
28. Vif et lager 1:35
29, Paisible 1:59
30. Agile, mais chantant 0:52
31. Plutot lent 1:40
32. Allegro 1:23
33 Sans hate 2:16