Composer: Joseph Canteloube
Works: Songs of the Auvergne (selection), Gabriel Fauré: Pavane Op. 50, Masques et Bergamasques Suite Op. 112
Performers: Jill Gomez (soprano), Royal Liverpool Philharmonic Orchestra (Canteloube), London Philharmonic Orchestra (Fauré), Vernon Handley (conductor)
Recording: Philharmonic Hall, Liverpool, January 1985 (Canteloube); Barking Town Hall, November 1974 (Fauré)
Label: EMI
Joseph Canteloube’s Songs of the Auvergne stands as a vibrant testament to the French revival of folk music in the early 20th century. Drawing inspiration from the rural melodies of the Auvergne region, Canteloube’s arrangements transform these songs into lush orchestral settings that evoke both the simplicity and the profundity of folk traditions. This recording, featuring soprano Jill Gomez and the Royal Liverpool Philharmonic Orchestra under Vernon Handley, encapsulates the charm and sensuous beauty inherent in these beloved works, while also providing a thoughtful juxtaposition with Gabriel Fauré’s own exquisite compositions.
Gomez’s interpretation of the Songs of the Auvergne is characterized by a rich idiomatic style, rendering the folk elements both accessible and captivating. Her rendition of the iconic “Baïlero” stands out, not merely for its relaxed phrasing but for the subtle inflections that hint at the song’s pastoral origins. The sensitivity in her voice, coupled with the nuanced support from Handley and the orchestra, allows each repetition to unfold with an intimate grace. Particularly noteworthy is the oboe solo in “Ound’onoren gorda?”, which echoes Berlioz’s Symphonie Fantastique, creating a haunting atmosphere that complements Gomez’s vocal line beautifully. This interplay between voice and orchestration reveals Canteloube’s deftness in marrying folk melodies with symphonic textures.
The orchestral colors, expertly realized by the players of the Royal Liverpool Philharmonic Orchestra, convey the exoticism of Canteloube’s music while maintaining a grounded authenticity. The ensemble’s contributions, especially in the brighter numbers like “L’oio de rotso” (Spring water), do occasionally lack the sharpened rusticity of earlier renditions by artists such as Victoria de los Angeles, yet Gomez’s overall interpretive palette remains compelling. The warmth of the orchestration—particularly in the woodwinds—creates a vivid soundscape that enhances the folk-inspired melodies without overwhelming them.
The two Fauré pieces, while recorded a decade earlier and in a different sound milieu, serve as commendable companions to the main attraction. Handley’s interpretations of “Pavane” and the Masques et Bergamasques Suite are marked by a splendid clarity and a commendable respect for Fauré’s subtle harmonic language. His unpretentious approach allows the delicate structures of the music to emerge naturally, with a focus on texture rather than overt emotionality. The analog recordings, handled by the skilled John Boyden, exhibit a vibrancy that belies their age, ensuring that the listener remains engaged throughout.
The sound engineering of this release is commendable, with Andrew Keener’s production offering an opulent, detailed auditory experience that captures both the orchestral brilliance and the intimate nuances of the vocal performance. However, the lack of textual support for the songs and a misprinted timing on the back cover do distract slightly from an otherwise polished presentation.
The overall package presents an enticing opportunity for those seeking an introduction to Canteloube’s folk-inspired works alongside Fauré’s lyrical elegance. The combination of Gomez’s expressive singing, the sensitive orchestral accompaniment, and the high production quality make this recording a persuasive selection that continues to resonate with listeners. It stands as a delightful entry point into the rich tapestry of French music, celebrating the marriage of folk roots and classical refinement with undeniable charm.
