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BerГјhmte Kurtisanen

BerГјhmte Kurtisanen

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His chamber music is now beginning to appear on disc. Like the songs, this Piano Quintet is immediately appealing to anyone with a liking for tuneful, easygoing and not-too-profound chamber music.

It was written in Louis Vierne's Piano Quintet dates from and is a much sterner, melancholic work, written in memoriam to the composer's son who was killed in the Great War.

Vierne is principally known as the composer of organ music, including six imposing symphonies. His chamber music is much less well known.

Few works carry with them so clear a verbal indication of their emotional temperature. These words, written by Louis Vierne to a friend in February , make painfully clear the aims of a fundamentally romantic musical language reaching beyond any egocentrically poetic escapism to confront only the very cruellest of mundane realities.

Revered primarily for his substantial contribution to the repertoire of his own instrument, Vierne has undoubtedly suffered in posterity from an otherwise prevalent and uninformed suspicion that no good can come out of an organ loft.

In the cases of such composers it is insidiously easy to compartmentalize types of emotion on the precarious basis of a perceived experiential chasm between sacred and secular worlds.

While it is true that Vierne sought and found solace and escape in the organ loft, it is misleading to suppose that this entailed shrugging off the emotional conditioning of a harsh life.

The painful intensity of his own Piano Quintet bears this out. Paradoxically, the note of unsparing and external self-appraisal allows full—if laconic—expression to these sufferings by denying in them any hint of true self-pity.

First confused and then badly smitten, Vierne thought he had found his kindred spirit. Marriage followed. The concatenation of disasters which now overwhelmed Vierne must be related in brief, from which its distressing impact may gain rather than lose.

He had lost his father and a beloved uncle many years earlier. On 18 May a street accident uncannily like that which had befallen Franck in and led to his death six months later almost necessitated amputation of a leg.

Convalescence was yet incomplete when typhoid struck. Driven ever further into his interior world and isolated from his family by both blindness and these added privations, Vierne seems barely to have sensed the deterioration of his marriage.

Guilmant had been Professor of Organ at the Paris Conservatoire. Worse was to come. On 7 September , aged barely ten, he died, setting the scene for a harrowing encounter between the estranged parents, both consumed with grief but unable to help one another.

The next day they parted again. The Great War loomed. In came the onset of the glaucoma which was to deprive Vierne of his last vestiges of sight.

Damage had been done to Notre-Dame, and there was little to keep him in Paris. It was in Switzerland, whither he had gone for further optical treatment in the last two years of the war, that he received news of the death of his only surviving son, Jacques, killed in action at the age of seventeen.

Alone, almost sightless and bowed down by innumerable tragedies, he threw himself into the Piano Quintet for his son. Clearly no single component was to be easy in the making of this costive, turbulent music.

The Piano Quintet in C minor is cast in three immense movements. There is little or no perceptible distinction between natural thematic extension and an actual transition, and the suddenness with which this process is cut short by an unlikely tonal sidestep makes the initial impact of the second subject initially a cello solo over funereal piano chords all the more arresting.

The pervasive influence of Franck and the precedent of his own essay in this medium make themselves apparent both in the melodic intervals and in the unobtrusively satisfying symmetry of the secondary idea, which clearly held deep significance for Vierne and is accordingly developed at once into an immense restatement.

The first theme is intensively explored in cellular fashion before a further, polyphonic string examination of new sequential possibilities in the second subject.

By now the piano is in more obvious melodic competition with the string complement, and the deliberate effect is of straining the medium almost beyond its inherent bounds.

An immense climactic paragraph is again cut short by the second subject, articulated this time by the piano over triplet-based string figuration.

This time rhapsodic extension leads to a dolce restatement, polyphonically elaborated to particularly poignant effect.

The movement ends on a quiet chord of C major. The second movement blunts the sharp edge of grief with its trance-like evocation of distant memories.

Eventually the piano breaks out of this interior world to effect an abrupt dislocation. After nervously disjointed tremolandi and other fragmented effects the music settles again, but its long melodic line is subjected to further hostile commentary and interruption.

A recapitulation of the opening section initially presents melodic lower strings against tolling piano chords and discreet arabesque lines from the violins.

The prolonged introduction to the third and final movement opens with painful stabbing chords from the piano and a withdrawn string response which sinks immediately back into despairing lassitude.

The ensuing piano solo passage is yet again uncannily close to Frank Bridge, but this time the Bridge of the astringent Piano Sonata dating from —5.

It is moving to sense a degree of common musical speech springing up by apparent accident between these two men, both reserved and inwardly troubled in their different ways, as each struggled to sublimate ideological or personal anguish in the face of the world events which assailed them.

After a grandly expansive opening paragraph the music recedes somewhat and assumes a troubled scherzando character whose contrapuntal possibilities are more implied than explored.

The frequent ambivalence of burlesque and nightmare qualities is resolved predictably enough as a central section subsides into ghostly stillness.

Vierne rises to the occasion with several ingenious harmonic transformations. Eventually the music accelerates towards a stormy coda which contrives to continue that process seemingly into and beyond the finish, thus leaving a deliberate sense of unresolved drama: of demons anything but laid to rest.

And, alas, for this most tragic of composers such a conceit was to prove prophetic of one further blow, seemingly more terrible ultimately than all the others.

On active service for his country at the age of forty, since the death of Jacques he had consoled his brother with his letters, which, however, had latterly begun to take on a fatalistic and implicitly premonitory tone as they recalled more and more scenes of childhood, as if the better thereby to fix himself in the memory of Louis.

With touching modesty he lamented having nothing better to offer the largely unsighted Louis, recalling that he had always done what he could as if for both of them:.

Actually he had been all but blown to pieces by a high-calibre shell. Despite Edouard to whom he had never been as close , Louis now felt alone in the world, seemingly a broken spirit.

By way of complete contrast, Reynaldo Hahn is a colourful and seemingly carefree figure, in posterity as in life.

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BerГјhmte Kurtisanen Video

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