The Neave Trio's new album celebrates French works for piano trio, focussing on three works composed around the turn of the twentieth century. Saint-Saens's Piano Trio No. 2 dates from 1892 and comprises five movements. Unusually for Saint-Saens, the work took a great deal of time from conception to completion (over five years) and then went through a number of revisions before Saint-Saens was finally satisfied. Mel Bonis's two pieces Soir and Matin, whilst on a smaller scale, are equally powerful works, bridging the worlds of romanticism and impressionism. The first piece is dominated by a cantabile melody, whilst Matin is more chromatic and harmonically complex. The album concludes with Sally Beamish's arrangement of Debussy's orchestral masterpiece La Mer. This three-movement symphonic work presented Beamish with an exceptional challenge, as she strove to 'reinvent Debussy's orchestral score with the piano trio in mind... This meant exploring what strings and piano can do in terms of texture, and concentrating on idiomatic and natural techniques.' By studying and recreating Debussy's colours and textures, rather than attempting to transcribe every note, Beamish produced an arrangement that presents the performers and listeners with a completely new perspective on these well-loved seascapes.

Following on the success of her acclaimed release, Donna Voce, award winning pianist Anna Shelest continues her exploration of works by women composer in Donna Voce Volume 2 - Women of Legend. Featured are Fanny Mendelssohn's monumental feat of imagination and virtuosity Das Jahr (The Year), Melanie "Mel" Bonis' suite of musical portraits Femmes de Legende (Women of Legend), and contemporary Ukrainian composer Olena Ilnytska's evocative Nocturne 1. Hailed by The New York Times as a pianist of a fiery sensibility and warm touch, Anna Shelest is an international award-winning pianist who has thrilled audiences throughout the world.

Musique de chambre avec flûte

The French composer Mélanie Bonis (1858-1937) came from a modest family of the Parisian petty bourgeoisie. Nothing is known about any musical background on her part: music remains her very personal passion. Immediately enchanted by your sensitive music, I gradually realized how varied the pieces were, both by their technical difficulties and by the richness of the harmonies and the melodies, so profound and sometimes poignant. The immense joy of playing this music has turned into responsibility: the responsibility of showing a jewel and making something shine that should be known as a matter of course, because it's just great." (Myriam Barbaux-Cohen)

Lucia Swarts writes: “Even as a young child, I was taught to be extra alert when women did not have the same opportunities as men. Many women did not have the same opportunities as men to compose and publicly share their musical ideas and lead public lives as composers, with some having their freedom limited by ill health or because family or society had different plans for them. Through the ages, female composers encountered considerable difficulties, often with fewer opportunities, support and education, even when they were members of the upper social classes. They were not in a position to enjoy worldwide fame, but several of them accomplished a great deal. Strong women, in other words. I have chosen from the works of five special women for this album. Five women with eventful lives who deserve a podium because of their musical qualities. Two Germans – Fanny Mendelssohn and Clara Wieck – both trained in the classic Romantic school, and two French women, Melanie Bonis and Lili Boulanger; Melanie, also a classic Romantic composer in style and Lili, impressionist and exotic. Finally the Dutch composer Henriette Bosmans, whose parents influenced her in the German Romantic style but whose own interests wandered eagerly towards the French Impressionists in an ongoing quest for her own independent compositional method.”

Devised by Laetitia Grimaldi and Ammiel Bushakevitz, Ombres brings together songs by nine women composers whose lives span the years 1821–1964. Many of the songs were written during the so-called Belle Époque, at a time when women might be accepted as performers – especially in domestic settings – but struggled to be recognised as composers. And even in the cases when their music was heard – for instance in the fashionable salons of Paris – or published, it soon fell into oblivion. Several of the songs included here were discovered by Grimaldi and Bushakevitz in libraries and archives, having gone out of print long ago. With Ombres, the performers liberate the nine composers from their shadowy existence, and demonstrate the wide range of their music, from Cécile Chaminade’s bustling Villanelle to Pauline Viardot’s nocturnal Les étoiles or the ghostly Les lavandières by Augusta Holmès, about the Midnight Washerwomen from Celtic mythology.

REVIEW:

What is beyond question is that some of the songs by the two most well-known of these composers, Pauline Viardot and Cécile Chaminade, are quite wonderful. Viardot wrote some real gems. The melody of “Les ombres de minuit” (The shadows of midnight) is haunting, the atmosphere of “Les deux roses” (The two roses) truly perfumed, the refrain of “Haï luli” folk-like and unforgettable, and the unquestionable beauty of “Les étoiles” (The stars) a gift to savor.

Chaminade's three songs, all characteristically La Belle Époque, include a lovely “Villanelle” which shines best when sung in a voice filled with youth and sunlight. “L’anneau d’argent” (The silver ring) is meant to elicit smiles, and “Nice-la-belle” (Beautiful Nice) is the French equivalent of the romance of the New York skyline as viewed from the Staten Island Ferry in a black-and-white movie from the ’30s or ’40s.

Be sure to listen to de Polignac’s hauntingly beautiful, far from ordinary “Jardin du roi” (The king’s garden). There are plenty of surprise turns in her songs to engage on multiple levels. And enjoy how Holmès, the daughter of an Irish major who was educated at Versailles, set her own poetry.

-- San Francisco Classical Voice (Jason Victor Serinus)