Fauré: Violin Concerto in d, op. 14 (Allegro) - Masques et Bergamasques op. 112 - Élégie op. 24 (for cello and orchestra) - Pelléas et Mélisande op. 80 (suite) - Ballade in F sharp, op. 19 (for piano and orchestra) - Pavane op. 50 - Berceuse op. 16 (for violin and orchestra)
It is precisely 100 years ago on 4 November this year that the 89-year-old Gabriel Fauré died in Paris. Reason enough to declare 2024 a commemorative year, which in the case of this new album has yielded something extra special: the surviving Allegro from the never-completed Violin Concerto in D minor, catalogued as opus 14. The slow middle section, an Andante, the composer consigned to the flames in his final year. We can only speculate about the reasons. Both sections were nonetheless performed for the first time in 1880, by the Belgian violinist Ovide Musin, to whom the work was dedicated (and who may have commissioned it). On Spotify I came across only one earlier recording, with violinist Philippe Graffin and the Ulster Orchestra conducted by Thierry Fischer, released in 2002 by the British Hyperion label, alongside a number of 'rare French works for violin and orchestra', as the album title states. Excellent performances, incidentally. But now there is Renaud Capuçon who not only takes on the solo part but also conducts the Orchestre de Chambre de Lausanne, of which he has been artistic director since 2021. And it must be said: he displays an even greater degree of refinement, as does this chamber orchestra from Lausanne, of which he has been artistic director since 2021. What applies to that Allegro applies equally to a large part of Fauré's oeuvre: romantic and sensitive, yet strictly regulated, with expression and form beautifully balanced. Other important stylistic characteristics are a certain restraint, refinement and intimacy. But that Allegro is interesting for another reason too, for the number of other works for solo instrument and orchestra can be counted on less than one hand: the Ballade in F sharp major op. 19 for piano and orchestra (originally a piano work), the Fantasia in G major op. 111 for piano and orchestra, the Élégie op. 24 for cello and orchestra and the Berceuse op. 16 for violin and orchestra (originally for violin and piano). Adding to that Fauré as a composer had a clear preference for small ensembles. On this album, opus numbers 16, 19 and 14 are also represented. With a total playing time of just over 71 minutes, there would have been just enough room for the Fantasia op. 111 (approx. 14 minutes). But no quibbling about that. Capuçon proves himself in this programme the ideal interpreter, light and clear, in a flowing style yet at the same time perfectly articulate, masterful in his exploration of shadow effects, of chiaroscuro, sensitive, enchanting, intuitive too, warm in tone and with a silken sheen. Characteristics that are also evident in the chamber orchestra which also performs optimally here. The phrases are refined to the finest detail, the tempi and tempo changes perfectly chosen and the melodic, harmonic and rhythmic character beautifully framed. The two guest soloists, cellist Julia Hagen and pianist Guillaume Bellom, prove to be an equally successful choice for this programme through their technically brilliant and interpretatively evocative playing style. There radiates so much charm from it that it constantly captivates the listener. The conclusion can only be that this — despite the inevitable 'evergreens' — is an extremely welcome contribution to the Fauré year 2024.