Composer: Jean Cras
Works: Paysages (1917): Maritime, Champêtre; Danze (1917); Two Impromptus (1925)
Performers: Jean-Pierre Ferey (piano)
Recording: 22 Dec 1997, d’Aulnay-sous-Bois
Label: SKARBO SK 1986
Jean Cras, a notable figure in the early 20th-century French music scene, is often overshadowed by his contemporaries despite being a composer of considerable merit. His dual role as a naval officer and a composer imbues his music with a unique maritime ethos, particularly evident in works like the Paysages and Danze. These pieces, written during the tumultuous backdrop of World War I, reflect not only the serene beauty of the French coastline but also the emotional turbulence of their time. Jean-Pierre Ferey’s recent recording offers a thoughtful exploration of Cras’s music, illuminating its nuances and underlying grandeur.
Ferey navigates the complexities of Cras’s Paysages with a deft touch that balances fluidity with emotional depth. In the first of the two Paysages, he captures the ebb and flow of the ocean, translating the composer’s naval experiences into sound. The waves are not merely a backdrop; they become a living entity, a dynamic force that Ferey articulates through his nuanced pedaling and phrasing. For instance, the wave-patterns are vividly rendered, allowing the listener to feel the swell of the sea. The second piece, Champêtre, reveals a more introspective side, where Ferey’s interpretative choices accentuate the lyrical qualities of the music, rising to moments of grandeur that resonate with personal reflection.
The Danze suite, comprising four movements, showcases Ferey’s technical prowess and interpretative insight. Each dance presents an opportunity for character exploration: the Morbida is indeed fluid and languid, yet it achieves a depth of expression that transcends mere decorum. Here, at approximately 4:23, the music ascends into a realm of grandeur reminiscent of the more profound emotional currents found in the Intimate Poems. Conversely, the Scherzosa dances with a delightful levity, displaying Ferey’s ability to infuse exuberance into the performance, creating a scintillating atmosphere that feels both fresh and familiar. The Tenera, marked by its tender expressiveness, is executed with a sensitivity that highlights the fragility of the themes, while the Animata emerges as a robust celebration, drawing parallels with the melodic richness found in Gallic counterparts such as Medtner or Granados.
The Two Impromptus, originally composed for harp, are seamlessly integrated into the program, with Ferey opting for an attacca performance that enhances their dramatic coherence. The Lent unfolds with an inviting languor, its lyrical lines floating gracefully, while the subsequent Animé bursts forth with vitality, akin to the festive spirit of a Russian Easter Fair. This transition, particularly the “gear change” at 6:15, exemplifies Ferey’s ability to maintain momentum while allowing the music’s inherent contrasts to shine.
The recording quality is commendable, allowing the subtleties of Ferey’s touch to emerge without hindrance. The clarity and warmth of the piano sound provide a fitting canvas for Cras’s intricate textures. The engineering choices respect the dynamic range of the music, ensuring that both the delicate nuances and the more powerful climaxes are rendered with fidelity.
In the landscape of recorded classical music, Ferey’s interpretation of Cras stands out not just for its technical skill but for its emotional resonance. This recording serves not only as a testament to Cras’s artistry but also as a compelling invitation for listeners to engage with a composer whose voice deserves a more prominent place in the repertoire. Ferey’s nuanced performance, brimming with both brilliance and grandeur, offers a fresh perspective on this often-overlooked composer, making this recording an essential addition to the discerning listener’s collection.
