Composer: Paul Ladmirault
Works: Poèmes Symphoniques: En Forêt (1932), Valse Triste for piano and orchestra (1901, 1933), Brocéliande au Matin (Prelude to Act II of the opera Myrrdhin) (1909), La Brière (1926)
Performers: Colette Diard (piano), Orchestre de Bretagne/Stefan Sanderling
Recording: Rennes, Sept 2000
Label: Pierre Verany PV700021 [56.39]
Paul Ladmirault, a composer whose voice resonates with the lyrical textures of early 20th-century French music, emerges as a fascinating figure whose works deserve renewed attention. Often overshadowed by contemporaries such as Delius and Ravel, Ladmirault’s compositions reflect a deep empathy with the pastoral qualities of nature and the subtleties of human emotion. His works included in the recording of Poèmes Symphoniques illustrate this affinity, characterized by an enchanting blend of folk elements and Impressionistic elegance.
The performances by the Orchestre de Bretagne under Stefan Sanderling present a compelling interpretation of Ladmirault’s music, though not without reservations. The orchestration, particularly in “En Forêt,” captures the essence of the dawn with a fragile beauty that evokes a sense of awakening. Sanderling’s approach emphasizes the airy textures and the delicate interplay of the woodwinds, reminiscent of Vaughan Williams’ pastoral scenes. However, moments of hesitation in the brass sections occasionally detract from the overall impact, leaving a desire for more robust confidence. For example, the gentle horn calls in “Aurore” are heavenly but could benefit from a more assertive presence to match the surrounding orchestral lushness.
Colette Diard’s contribution to the “Valse Triste” exemplifies an intricate dance between melancholy and buoyancy, though it leans more towards a ‘Ballade’ character than the implied ‘Triste.’ The piano’s fluidity mirrors the orchestral textures, yet the integration could be enhanced with a stronger interpretative commitment. The recording captures the subtleties of dynamics beautifully, yet it lacks the sublime confidence that would elevate the performance to match the vividness of Ladmirault’s idiom. Comparatively, the lack of abandon here recalls the recent Fricsay interpretation of the Kodály Galanta Dances, which exemplifies the interpretative fervor Ladmirault’s music demands.
“Brocéliande au Matin,” the prelude to an opera that remains largely unperformed, offers a dreamy landscape that feels like an enchanted awakening. The ethereal quality of this piece, alongside the rustic vigor of “La Brière,” showcases Ladmirault’s ability to weave narrative into sound. The latter piece, derived from Chateaubriand’s novel, imbues its five movements with a sense of rustic drama that is distinctly French, aligning with the folk influences found in the music of Bizet and Canteloube.
Sound quality is commendably lucid, a hallmark of the Pierre Verany label, which allows the intricate orchestration to shine through. However, the interpretative nuances could have benefitted from a more vigorous engagement from the performers, especially in the dynamic shading of climactic passages. Such qualities would not only enhance the listening experience but also align more closely with the emotional depth inherent in Ladmirault’s writing.
Ladmirault’s music represents a gentle yet profound voice in the tapestry of 20th-century French composition. This recording serves as a valued addition to the catalogue, illuminating the works of a composer whose lyrical charm and pastoral sentiment offer a refreshing contrast to the more dramatic narratives of his time. While the performances demonstrate a clear understanding of the music’s essence, a greater interpretative daring could fully realize the enchanting world that Ladmirault so masterfully conjured.
