D’INDY Istar, Op.42; Choral varié, Op.55; Symphony No.3, Op.70; Diptyque méditerranéen, Op.87
Chandos CHAN 10585
If the music of Vincent d’Indy (1851-1931) is not as well known as that of some other French composers, not least those who were his contemporaries, then these beautifully and sympathetically played performances, which are spaciously and vividly recorded, ought to go a long way in persuading us that this is music that really does demand attention.
Istar (1897), subtitled ‘Variations symphoniques’, is an ancient Assyrian tale set to music, and is a superb piece, fantastical and opulent, full of atmosphere while also being concise and rigorous in form. Choral varié (1903), for saxophone and orchestra, is somewhat severe if noble, the solo instrument adding a sultry expressive line to the orchestra in music that might be described as a song from the forest.
Symphony No.3 (1916-18) reflects the time in which it was written, that of World War I. Beneath the radiance of the opening bars is tension, darkness. In formal terms, this is a four-movement symphony lasting (here) just over 30 minutes – which the composer termed ‘Sinfonia brevis’ but is hardly ‘short’ in terms of duration – and diverse and wide-ranging in its content.
The first movement has its militaristic aspects (perhaps accompanied by a measurement of parody) as well as a glorious outpouring of hope. But there is an edge, too; this is music that vividly reflects troubled and changing times and leaves no doubt as to d’Indy’s versatility and imagination as a creator and also his mastery of the orchestra. The dance of the second movement also has its tensions, which shadow a seemingly simple rusticity, the scoring lean, with a Stravinskian clarity. Beginning with pastoral woodwinds, the slow movement extends a deeply-felt outpouring, one that is heavy of heart (and reminding one at times of the Fourth Symphony of Franz Schmidt, indeed anticipating that masterpiece from 1933). Contrasted with this doleful expression is a rather quirky idea that intrudes marionette-like. This is music with secrets aplenty.
The finale is a rumbustious pay-off, somewhat mechanical but not without heroism and expressive reflection. This last symphony from the composer is a fascinating score, one to return to to get under its skin and unravel its complexities and ambiguities. The performance, by the Iceland Symphony Orchestra under Rumon Gamba, is obviously a fine one, well prepared and understanding.
Completing this stimulating release is Diptyque méditerranéen (1926), which proved to be d’Indy’s final orchestral work, music a world away from the pressures expressed in the Third Symphony. Full of evocative and brilliantly imagined orchestration, Diptyque méditerranéen opens out a paradise of hospitality and generous feeling, music that ravishes the ear and in which one can sense different types of light, from the midday sun to moonlight, with playful sprites dancing in the translucent darkness.
This third volume in Chandos’s series devoted to d’Indy’s orchestral music (there clearly needs to be some catching up!) offers some wonderful music and is recommended with the greatest possible enthusiasm.
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