Ravel: Violin Sonata in G; Violin Sonata in A (posthume); Tzigane; Berceuse sur le nom de Gabriel Fauré; Lekeu: Violin Sonata in G – Alina Ibragimova, Cédric Tiberghien (Hyperion CDA67820)
This is a most enjoyable disc, not just for the splendid performances but for the programme, which adds Guillaume Lekeu’s Violin Sonata to the complete works for violin and piano by Ravel. At first glance, these two composers may appear to have little in common, Ravel’s cool brilliance, as displayed in the G major Sonata, in marked contrast to Lekeu’s heart-on-sleeve romanticism. However, Ravel’s earlier Sonata, incomplete and published posthumously, was composed only five years after Lekeu’s and shares a lyrical, ethereal quality, as well as explorations into the 7/8 time signature.
Lekeu’s Sonata is probably his most famous composition from a life cut tragically short from typhoid (1870-94). In his authoritative booklet note, Roger Nichols describes him as a member of the ‘bande à Franck’, dedicated to the style and teachings of his fellow Belgian. Nichols relates the episode of Lekeu fainting during the Prelude to Tristan und Isolde and having to be carried out of the theatre at Bayreuth. The ‘tremulous emotion’ which characterizes Franck’s music, according to Martin Cooper, is evident in his disciple’s Sonata, written for the great Eugène Ysaÿe in 1892-93. Alina Ibragimova, partnered by her regular chamber music collaborator Cédric Tiberghien, offers a marvellous rendition, full of thrilling virtuosity, their playing ensuring the passionate sweep of the score is fully encompassed.
Arthur Grumiaux’s is the benchmark performance here, as he is in Ravel; however, Ibragimova is recorded more distantly than Grumiaux, which means that she is able to achieve Lekeu’s frequent pianissimo markings much more realistically, including the ppp perdendosi requested at the end of the Très lent second movement, adding greater fragility to her performance. In the third movement, Ibragimova manages the très animé section (rehearsal mark 25) with bristling ferocity. One of the most pleasing aspects of the new recording is that Tiberghien observes the spread chords which litter the piano part, something Dinorah Varsi, Grumiaux’s partner, doesn’t do until the final movement.
In Ravel’s more famous Violin Sonata, in G, Ibragimova is up against stiff competition. Her approach is polished and classical, closer to Grumiaux’s account than the fiery Patricia Kopatchinskaja’s, who revels in her more abrasive sound. Ibragimova’s icy playing right on the bridge at rehearsal mark 10 (5’04”) is superb. In the ‘Blues’ second movement, she cuts a debonair grace, as dapper as Grumiaux, but in tempos more relaxed, still with strong rhythmic drive. Kopatchinskaja revels in the jazzy glissandi and spiky pizzicati, Fazil Say, her pianist, playing a prepared piano to enhance the smoky atmosphere. Renaud Capuçon is suavely persuasive in the opening movement, but is too speedy in the second for my liking. The third movement, replacing a rondo which failed to find favour with George Enescu, its first exponent, is a dazzling cascade of semiquavers, heroically performed.
Ravel’s earlier Sonata, in a single movement, was also intended for Enescu, then both pupils of Fauré at the Paris Conservatoire. There are many changes of time signature, including a 7/8 theme. Ibragimova catches the romantic spirit and limpid beauty of the score well, slightly faster than Capuçon, who doesn’t observe the 67-bar repeat.
The programme concludes with Tzigane and a Berceuse in tribute to Fauré. Tzigane is the least convincing piece on the disc, largely because I’ve been spolit by Kopatchinskaja’s earthy rendition, accompanied by her father on cimbalom – it’s difficult to return to piano accompaniment after that! If you’re after something slightly different, there are a few versions where a luthéal is fitted to the piano: Sarah Nemtanu’s disc ‘Gypsic’ features one and the cimbalom effect in its highest register is remarkable. Daniel Hope and Patrick Bismuth have also recorded with luthéal (on Warner and ZigZag respectively), but I’ve yet to hear these recordings. Ibragimova can seem a touch genteel in comparison, although the playing is flawless, but hers is a very ‘clean’ account, not unlike Grumiaux, who seemed incapable of making an ugly sound; perhaps not what’s required here, but that’s just a personal preference. It certainly doesn’t detract from a wonderful disc, complete with beautiful cover art by Paul Ranson. Indeed, in the Lekeu sonata and early Ravel, Ibragimova and Tiberghien would be my primary recommendations.
Comparisons:
Lekeu
Arthur Grumiaux, Dinorah Varsi (Decca Eloquence, 2 discs) 442 8299 (1974)
Ravel Sonata in G
Arthur Grumiaux, István Hadju (Decca Eloquence, 2 discs) 442 8299 (1966)
Renaud Capuçon, Frank Braley (Virgin) 5 45492 2 (2001)
Patricia Kopatchinskaja, Fazil Say (Naïve) V5146 (2007)
Ravel Sonata in A (posthume)
Renaud Capuçon, Frank Braley (Virgin) 5 45492 2 (2001)
Tzigane
Patricia Kopatchinskaja, Viktor Kopatchinsky (Naïve) V5193 (2009)
Arthur Grumiaux, István Hadju (Philips, 2 discs) 446 5602 (1962)
Sarah Nemtanu, Romain Descharmes (Naïve) V5235 (2010)
This review originally appeared in International Record Review