When a composer seems to have faded so completely out of our musical life, the assumption, true in some cases, is that history makes it's...

When a composer seems to have faded so completely out of our musical life, the assumption, true in some cases, is that history makes it's choice and that if a composer has fallen out of favor this simply means his music wasn't meant to last. But history does occasionally make mistakes: the case of Bach, eclipsed by his own sons after his death and known for some decades to only a handful of musicians until he was reinstated by Mendelssohn, is probably the most famous. Mahler was neglected until he was gradually rediscovered and is now a pillar of our musical tradition. There are other composers like Frank Martin or Zemlinsky who, it seems, are only gradually beginning to receive the recognition they deserve, and many other fine composers are still struggling to be heard today. In the case of Jean Roger-Ducasse, although most of his music is available on album one never hears him in concert halls and his name is unknown to the vast majority of musicians. Jean Roger-Ducasse studied at the Paris Conservatoire and was the star pupil and close friend of Gabriel Fauré. He succeeded Fauré as professor of composition, and in 1935 he succeeded Paul Dukas as professor of orchestration. His personal style was firmly rooted in the French school of orchestration, in an unbroken tradition from Berlioz through Saint-Saëns. Roger-Ducasse wrote music in nearly all classical forms and was particularly known for his operatic stage works and orchestral compositions.

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REVIEW:

The piano music of Jean Roger-Ducasse (1873-1954) is cut from the same subtle and refined cloth as that of his teacher and mentor Fauré, particularly in the latter’s elusive late works. Its difficulties lie not so much with virtuosic challenges as they do with issues of numerous expressive directives and clarifying contrapuntal movement.

It must be said that the titles are deceptive. Don’t expect the two Arabesques to resemble Debussy’s sylph-like creations. The first one, for example, begins with a simple melody cloaked by billowy chromatic movement. As the music unfolds, the piano writing grows thicker and fuller-bodied. Sounds more like a “Ballade” than an “Arabesque”, eh? The Etudes are etudes in the sense that they focus on specific technical issues, yet if Roger-Ducasse had titled them “Nocturnes” we’d be none the wiser. And what of the Sonorités in A-flat major, with its mercurial nature and scintillating sequences? That’s a Capriccio if there ever was one!

More importantly, though, Roger-Ducasse’s exquisite piano writing digs deeply and grows on you over repeated hearings. In 2015 Nimbus brought out Roger-Ducasse’s complete piano works played by Martin Jones in a three-CD set. A fine 2017 Roger-Ducasse release recital for the Grand Piano label featured the late pianist Joel Hastings. While these easily merit recommendation, I now lean toward Patrick Hemmerlé’s masterful interpretations; they command the edge insofar as textural transparency and control are concerned.

For instance, Hemmerlé avoids breaking tempo in the Third Barcarolle’s climaxes and keeps both the busy filigree and melodies supported by large chords in steady perspective. He also shapes the G-sharp minor Etude’s soft and persistent rotary figurations more lightly and evenly than Jones manages, along with a wider palette of tone color, despite slight sonic congestion in loud passages. This repertoire cries out to be discovered, disseminated, and adored.

– ClassicsToday (Jed Distler)