Albert Roussel’s chamber works are relatively unknown, yet he composed a significant body of masterful works. The majestic Violin Sonata No. 1 and the dynamic neo-Classical Violin Sonata No. 2 are coupled with the String Trio, Roussel’s last completed work. Violinist David Bowlin and pianist Tony Cho are both highly regarded soloists and faculty members of Oberlin Conservatory of Music in Ohio, where the album was recorded.

REVIEW:

All three chamber music works are characterized by skillful craftsmanship. The First Sonata is the most extensive of all Roussel's chamber music works and is markedly serious. The Second Violin Sonata is only about half as long, but just as determined. The String Trio, his last completed work, is a striking example of his late style.

The musicians offer the works with an extremely positive commitment that immediately engages the listener. Each of the three pieces has its own character that makes it unmistakable and the performers bring this out skillfully. They form lively narratives in tones that breathe life into the largely unknown in a delightful way. In terms of design, they explore the music in all directions and know how to integrate the details into the overall picture, creating a cohesive form from the first to the last note. We can be grateful that they have taken on the works in such a convincing way.

-- Pizzicato

After the successful release of "Odyssey," pianist Danae Dörken presents her second album on Berlin Classics. Together with her sister - Kiveli Dörken - she invites the listener to embark on an emotional and psychological journey through a very personal selection of music that characterizes the Greek gods Apollo and Dionysus. This unique journey aims to become aware of the characteristics represented in each of us and create a balance between them. The technical brilliance present in their playing and the insightful, sensitive interpretations already make this album a highlight. Their deep personal connection and the decades of playing together at the piano are audible in every moment of these recordings and set this album apart.

Yvonne Lefébure (1900-1986) was one of the most important French pianists and piano teachers of the 20th century. From a very young age she demonstrated real musical talent. When she was only 6 years old she studied the piano with Marguerite Long (1874-1966), initially in a private school, known as the Conservatoire Femina-Musica, then in Marguerite Long’s preparatory classes for the Conservatory. Yvonne Lefébure gave her first recital aged 12. Her earliest concert performances contained demanding works such as the B minor Piano Sonata by Franz Liszt or Robert Schumann’s Etudes symphoniques. Ultimately this gifted pianist took lessons with Alfred Cortot (1877-1962), one of the most important and indeed most influential personalities of musical life in the 20th century. Her most important studies with Cortot took place in his conservatory classes for advanced students, a group she joined in 1911 and from which she was awarded a first prize in 1912. Yvonne Lefébure had further private lessons with Cortot particularly in the period 1919-1939, when she was one of the most important teachers at the Ecole Normale de Musique. Later she went on to lead a masterclass at the Ecole Normale de Musique. From 1952 to 1967 she was Professor at the Paris Conservatory. Yvonne Lefébure was an outstanding soloist, chamber musician and concert solo artiste: by listening to this album listeners can get an impression of her talent for themselves.

REVIEW:

Beethoven’s Diabelli Variations and Sonatas 30-31 were recorded 1955-56 in decent monaural sound. The Diabelli is a fine, forceful reading in one long band (each variation is not tracked). The sonatas are beautifully rendered and show a pianist of discriminating taste and maturity. They also show Lefebure to possess a technical mastery that places her at the forefront among artists of her generation.

Mozart’s Violin Sonata in G with violinist Jeanne Gautier, and Beethoven’s Sonata 32 and Sonata 8 are decent enough, though no reason is given why we are left with only the first movement of the Pathetique Sonata.

The Mozart Piano Concerto 20 with the Berlin Philharmonic under Furtwangler is a pleasant surprise, though the strings are a bit glassy. Bach’s Piano Concerto in D minor along with some organ pieces transcribed by Liszt is the heart of disc 3. The concerto is effectively conducted by Fernand Oubradous, and Lefebure performs with depth and soul. The Liszt transcription of the Fugue in A minor S 543 is especially impressive.

Music by French composers constitutes the bulk of disc 4. Ravel’s Violin Sonata in G with Jeanne Gautier is handled with delicacy and humor, and Debussy’s rarely heard ballet Box of Toys allows Lefebure to handle the subtleties of the narrative with a special joy (it is heard here with French narration). The Dukas Rameau Variations and Roussel Three Pieces, Op. 49, are treasures of French insouciance coupled with elegance.

Very non-French is the single Chopin Mazurka that closes the disc. Pierre Dervaux gets off to a somewhat clumsy start with the French Radio Orchestra in Schumann’s Piano Concerto but rapidly improves to a stunningly warm and rapturous traversal. Mozart’s Concerto 20 contrasts most positively with Furtwängler’s glassy-sounding Berlin account.

-- American Record Guide

Under the leadership of its Artistic Director, Adam Walker, the Orsino Ensemble is a chamber group of flexible formation with five outstanding wind players at its core. Each is a leader in his or her field, the group’s members committed to showcasing the depth and versatility of the wind chamber repertoire. They expand and reduce the Ensemble’s format as needed across their different programmes. This flexible approach is clearly demonstrated on this their début recording for Chandos, programming works for solo instrument through to the full wind quintet and piano needed for Albert Roussel’s Divertissement. The late nineteenth and early twentieth centuries bore witness to significant advances in the design and manufacture of wind instruments, much of the development driven by French makers. At the same time, the rapidly expanding Paris Conservatoire supported not only performance study, but also a vast output of original compositions by their teaching staff for the student body. The varied programme on this album captures the spirit of the age – a Belle Époque indeed!

REVIEW:

A delightful and thoughtful debut disc from the Orsino Ensemble. Supplemented by Pavel Kolesnikov’s insightful pianism, the Orsinos draw on its core quintet of leading wind players. The entire complement is heard only at the start of the disc in Roussel’s carefree Divertissement, the five wind players effortlessly interweaving, blending or stepping forward as appropriate.

– BBC Music Magazine

Maestro Yan Pascal Tortelier celebrates his twenty-five-year recording career and seventy-album discography on Chandos with this album of three of Roussel’s most remarkable compositions. It follows a highly praised Birmingham concert with the same forces, namely the exceptional BBCPO and CBSO Chorus, and three revelatory soloists: Kathryn Rudge, 2017 BBC New Generation Artist, the young tenor Alessandro Fisher, joint first prize winner at the 2016 Kathleen Ferrier Awards, and François Le Roux, famous for his award-winning performances of French operas. Although very rarely recorded, Évocations stands as a monument in the compositional life of Roussel, depicting scenes, sounds, and colors from his experiences of India. Also featured are the audacious Pour une fête de printemps, originally composed as a Scherzo for his controversial Second Symphony, and the later Suite in F, which was performed in Paris several times after its Boston premiere, to critical acclaim.

One of Roussel’s most performed orchestral works, The Spider’s Web was composed during his earlier impressionistic period, and depicts the beauty and violence of insect life in a garden. Roussel’s experiences as a lieutenant in the French Navy first introduced him to Eastern influences, and the ‘opera-ballet’ Padmâvatî was inspired by his later visit to the ancient city of Chittor in Rajasthan state of western India. It uses aspects of Indian music to evoke this city’s legendary siege by the Mongols. This is the fifth and final volume in Stéphane Denève and the RSNO’s acclaimed survey of Roussel’s orchestral works. “An excellent disc, splendidly and idiomatically performed and a superb advertisement for composer, conductor and orchestra. Highly recommended.” (Gramophone on Vol. 4 / 8.572135)

REVIEWS:

The Third Symphony was...favored by Karajan in the 1950s. It was the product of a composer in his sixties writing in his Normandy home at Vasterival. It was premiered by the Boston SO and Koussevitsky on 24 October 1930. The thud and thunder of the first movement contrasts with the pastoral melancholy meditation of the Adagio. This is followed by the fairground pleasantry of the Vivace and the massive fountains of exultation of the last movement. No wonder the audience - whose applause forms part of the track - greeted this performance with such warmth.

Le Festin is here given complete across 21 tracks. You are likely to enjoy this music - if you do already know it - if you already number Ravel's Ma Mère l'Oye and Debussy's Prélude a l'après midi d'un faune among your favorites. It has the magical elegance of the Ravel and the sultriness of the Debussy. Add to this the motorized thunder of Roussel's last two symphonies. It is superbly recorded - listen to the whispering distant gold of the violins in The Ants Dance in a Circle (tr. 16). The instrumental howls in the Funeral of the Gadfly (tr. 24) are memorable. Also in the same movement how similar some of the writing is to Ravel's dawn rustlings in Rapsodie espagnole. Those gentle rustles from the tam-tam suggest Ma Mère l'Oye. Eschenbach heartbreakingly captures the valedictory melancholy of Night falling on the deserted garden but brings out the solace too. This makes for an easy full price choice - poetically done in every aspect.

– Rob Barnett, MusicWeb International

The liner notes for this release make the argument that French modernist Albert Roussel was the greatest composer of his time. It is an argument Christoph Eschenbach and the Orchestre de Paris do much to advance in these live performances. Coupling Le Festin de l'araignée from 1912 and the Symphony No. 3 from 1930, Eschenbach and the Parisian orchestra give Roussel's music the kind of clear-eyed, strong-willed performances that make the most of the composer's best features. Though distinctly of its prewar time, Le Festin de l'araignée nevertheless sounds brightly colorful, lightly ironic, and surprisingly inventive in this smoothly polished and vigorously rhythmic performance. The postwar Third Symphony sounds both of and above its time here, its angular themes, gleaming colors, and muscular rhythms brilliantly brought out by the German conductor and the French orchestra. If Eschenbach and the Parisian musicians' racing finale for the symphony, with its relentless polyrhythms, doesn't get your heart pumping, consult a doctor immediately. Recorded in vibrant live sound complete with appreciative applause, these performances may well convince the listener that Roussel is indeed underrated.

– James Leonard, All Music Guide