Composer: Joseph-Guy Ropartz
Works: Piano Trio (1918), Prélude, Marine et Chansons (1928), String Quartet No. 4 (1934)
Performers: Jean-Louis Haguenauer (piano), Alexis Galpérine (violin), Cecilia Tsan (cello), Ensemble Stanislas
Recording: World premiere recordings, Salle Poirel, 23 Oct 1995 & 22-23 June 1996
Label: Timpani 1C1047
Joseph-Guy Ropartz, a figure somewhat overshadowed in the landscape of 20th-century French music, emerges with striking clarity in this collection of chamber works. Known for his deep ties to Breton folklore and the natural beauty of Brittany, Ropartz’s compositions are steeped in the emotional tumult of his era, particularly as the devastation of World War I loomed in the background. This recording offers a tantalizing glimpse into his stylistic evolution, from the intimate expressions of his 1918 Piano Trio to the more austere textures found in the 1934 String Quartet No. 4.
The Piano Trio, structured in four movements, showcases Ropartz’s ability to articulate layers of emotional depth. The troubled opening allegro, marked by a sense of unease, effectively harnesses the tumultuous context of its creation. Here, the trio’s interpretation, led by pianist Jean-Louis Haguenauer, is marked by a rich tonal palette and a keen sense of phrasing that conveys the underlying tension. The second movement’s lively pizzicato offers a stark contrast, capturing a fleeting sense of joy amid the shadows. The ensemble’s agility shines through with the buoyancy of the playful motifs that punctuate this section, reflecting a brief respite from the darker currents of the time.
Recording quality is commendable, with Timpani’s engineering successfully balancing the intricate textures of the trio. Each instrument is afforded its own sonic space, allowing the listener to appreciate the dialogues that unfold between the violin and cello, particularly in the lent, where a sense of reflection pervades. The sound is crisp and vibrant, allowing the subtleties of the ensemble’s dynamics to resonate vividly.
The Prélude, Marine et Chansons reveals a different facet of Ropartz’s compositional voice—one that is lean and evocative, steering clear of the romantic excesses that often mar the works of his contemporaries. The ensemble’s performance captures this clarity with finesse. The use of flute, violin, viola, cello, and harp generates an airy brilliance, reminiscent of a summer breeze along the Breton coast. The interplay among instruments is deft, with bird-like motifs fluttering through the texture, evoking medieval themes and adding a pastoral charm that stands in contrast to the more intense emotional landscapes of the trio and quartet.
The String Quartet No. 4, while not as immediately engaging as the other works presented, offers a thoughtful exploration of restraint and dialogue. The two opening allegros unfold with a meticulous pacing that might initially feel reserved. However, it is in the Quasi lento that Ropartz’s genius emerges—a moment of stillness that hints at the serene beauty of the earlier Prélude. The final Allegro bursts forth with a wild energy that recalls the exuberance found in the contemporaneous works of John Foulds. The ensemble’s ability to negotiate the shifts in mood and intensity is commendable, and the clarity of their lines allows the music to articulate its inherent contrasts effectively.
This collection is not merely an introduction to Ropartz’s chamber music; it is a compelling invitation to delve deeper into his oeuvre. The performances are imbued with a sense of purpose, a testament to the musicians’ understanding of the emotional and historical contexts surrounding these works. The production is beautifully packaged, with informative notes that enrich the listening experience. A recommendation for both the curious listener and seasoned aficionado alike, this recording is a celebration of Ropartz’s artistry, one that deserves to be heard and appreciated beyond the confines of its historical moment.
