Although he spent many years in Nancy, Ropartz
was a Breton at heart. Brittany is often evoked in his music in
one way or another. So, when World War I broke out, he found refuge
in Brittany, where he composed his large-scale and quite substantial
Piano Trio in A minor. The opening of the first
movement evokes a beautiful seascape in all but the name, although
– needless to say – the music is neither descriptive nor programmatic.
sample The music nevertheless
reflects on the hardships of the war years, and is rather troubled,
anguished and often dramatic. sample
Structurally, the Piano Trio is still strongly indebted to Franck,
as were many of Ropartz’s early works. He, however, managed to
lighten his at times dense textures by his recourse to some Breton
folk music, either real or subtly alluded to. In this, Ropartz
often came close to Joseph Jongen, whose music often has some
rustic flavour. Neither was Ropartz totally indifferent to Impressionism,
that also left its mark on the music. The first movement is fairly
intricately worked-out. By contrast, the Scherzo is an energetic
outdoor dance with a calmer, slower central Trio. sample
The third movement is a beautifully expansive song without
words sample leading straight
into the fairly developed Finale opening with tolling bells on
the piano launching another vigorous, folk-inflected main theme,
actually related to the first main theme of the first movement.
sample Ropartz’s Piano Trio,
in much the same way as the First Violin Sonata dedicated to Ysaÿe,
is a good example of the composer’s own personal approach to Franck’s
cyclic construction.
As a number of other composers active during
the inter-war years, Ropartz composed a work for the Quintette
instrumental de Paris (flute, harp and string trio) founded by
Pierre Jamet. Koechlin (Primavera Op.156 – 1934),
Jean Cras (Quintette – 1928), Pierné (Variations
libres et Final Op.51 – 1932), Roussel (Sérénade
Op.30 – 1925) as well as Joseph Jongen (Concert
à cinq Op.71 – 1923) and Daniel-Lesur (Suite
Médiévale – 1945/6), whom Michel Fleury
fails to mention in his otherwise informative and well-documented
insert notes, are among the ones who composed for Jamet. Ropartz’s
offering was his delightful Prélude, marine et
chansons completed in 1928, and likely one of his
most readily appealing works. The music is as beautifully crafted
as ever, but displays the lighter, more playful side of Ropartz’s
music. sample The music unpretentiously
speaks for itself and the concluding Chansons again have a refreshing
rustic flavour. sample
As well as similar works by Schmitt, Pierné
and Roussel, Ropart’s String Trio in A minor was
prompted by the celebrated Trio Pasquier. It is a somewhat less
expansive work than the Piano Trio, although it, too, is a substantial
work in four movements of roughly equal length. The Scherzo is
just a tat shorter than the other three movements. However, when
compared to the Piano Trio (also in A minor, but with quite different
results), the String Trio is much more compact, rather more ascetic;
and a work in which the composer kept his material strictly under
control, while paring it down to the essential. I for one regard
it as one of Ropartz’s finer achievements, and undoubtedly a major
work that clearly deserves wider exposure and that generously
repays repeated hearings.
Samples: Allegro
moderato Vivo,
Lento, molto espressivo,
Allegro molto
The present recording of the Piano Trio and of
Prélude, marine et chansons was made as far
back as 1995, and is apparently only released now as part of the
generous and brave enterprise on Timpani’s part to record a large
selection of Ropartz’s output. The Quatuor Stanislas is now completing
their recording of Ropartz’s string quartets, while Timpani is
completing their recording of the symphonies. These performances
are strongly committed and beautifully played throughout, whereas
the recording is up to Timpani’s best and the production excellent
with informative notes by Michel Fleury.
This most welcome addition to Ropartz’s expanding
discography is yet another feather in the caps of Timpani and
the Stanislas. Not to be missed.
Hubert Culot
Alexis Galpérine (violin), Cécilia Tsan (cello), Jean-Louis
Haguenauer (piano)a; Ensemble Stanislasb