Composer: Max d’Ollone
Works: Piano Quartet (1949), String Quartet (1898), Piano Trio (1920)
Performers: Patrice d’Ollone (piano), Quatuor Athenaeum
Recording: Jan 1999, Salle des fêtes de l’Académie de Paris
Label: Pierre Verany PV799061 [69.03]
Max d’Ollone, a somewhat overlooked figure in the pantheon of French composers, offers a compelling contribution to the chamber music repertoire with his Piano Quartet, String Quartet, and Piano Trio. These works, spanning from 1898 to 1949, encapsulate a stylistic evolution that reflects d’Ollone’s unique voice, which was shaped by his studies with Massenet and his engagement with the musical currents of his time. D’Ollone’s works can be characterized by their lyrical expressiveness and intricate textures, standing in dialog with the more prominent figures of the French late Romantic and early 20th-century landscape.
The Piano Trio, in particular, is a substantial work that unfolds over four movements, drawing comparisons to Fauré’s piano quartets, especially the Second. Its 25-minute duration allows for a rich exploration of thematic material, with the first movement establishing a serene yet dynamic dialogue between the piano and strings. The interpretation here is marked by Patrice d’Ollone’s sensitive piano playing, which deftly balances melodic lines with harmonic support, creating a conversational quality that permeates the piece. The scherzo, marked by its lightness, contrasts with the emotional depth found in the adagio, where d’Ollone seems to stretch time, evoking a poignant stillness that speaks to the listener’s heart.
The Piano Quartet, while shorter, showcases d’Ollone’s penchant for climactic statements and intricate interplay. The second movement offers a moment of repose, where the rocking lissom dialogue is particularly effective, providing a counterpoint to the more unruly scherzo. The finale of the quartet sparkles with the same effervescence found in the finale of the Trio, yet it also carries an undercurrent of introspection that enriches the overall experience. The ensemble’s execution reveals a commendable cohesion, with the Quatuor Athenaeum demonstrating both technical finesse and emotional engagement throughout the performance.
Recording quality is a significant factor in the overall experience, and the engineers at Pierre Verany have captured the nuances of the performance admirably. The clarity of the sound allows for the intricate interplay of textures to emerge, ensuring that the listener can appreciate the subtleties of d’Ollone’s writing. However, the absence of total playing times on the disc’s packaging is an oversight that detracts slightly from the presentation, as is the obscured artwork on the cover, which would have added visual context to the listening experience.
Max d’Ollone’s chamber works are deserving of greater recognition, and this recording serves as a strong testament to his craft. The performances by Patrice d’Ollone and Quatuor Athenaeum strike a commendable balance between technical precision and expressive depth, effectively bringing to life the nuanced emotional landscapes that characterize d’Ollone’s music. This recording not only enriches our understanding of d’Ollone’s contributions but also invites a re-evaluation of his place within the broader narrative of French chamber music.
