Texte paru dans: / Appeared in: Alpha |
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Reviewer: David
Reznick
I’m going to go out on a limb
and guess that there is no need to give you an introduction to Corelli, so I
will concentrate on his discmate, Jean-François Dandrieu (1682–1738). Some
interesting facts about him are offered in the accompanying booklet; and
having read them, I can only wonder how it is that I never encountered him
before in a lifetime of musical study. For example, we are told that “even
in infancy, he was able to play the harpsichord with tremendous facility.”
This is sensatio-nal. I don’t know exactly when disposable diapers were
invented, but I’m sure it was after 1682, or even 1738. And I suspect that
an infant, even one with tremendous facility, would be able to concentrate
on such a task for very long. And the “Minute” Waltz wasn’t written until
1847. The uncredited author of the notes, using the same writing style that
I employed as an undergraduate trying to fill a blue book on the final exam,
then informs us that Dandrieu’s music is “overflowing with energy, a
playful, spirited counterpoint between the three voices, movements that seem
suspended in time by the most impressive Italianate ritardandi, phrasing,
rhythm, sweetness, passion—full of life.” These notes are definitely full of
something—perhaps sweetness and passion, perhaps only Italianate ritardandi.
But what really caught my eye
was the very first sentence, printed in boldface: “Are Dandreiu’s trio
sonatas interesting enough for a recording?” This can only mean that they
are soliciting our opinion on the question. It must mean that. Because we
already know their answer—we’re holding it in our hands, after all—and I’m
not sure they would have altered their plans even if our verdict turned out
to be a resounding “Nay!” But they asked, so I will go ahead and vote
anyway. Here’s my verdict: Dandreiu was a composer of aggressively modest
accomplishment who, like many others, was astonished at the artistic and
commercial success of Corelli’s trio sonatas. And lo, the world was suddenly
filled with trio sonatas; and it came to pass that they weren’t as easy as
they looked, or sounded. Corelli turned out to be Elvis, and the others were
Las Vegas Elvis impersonators (like Locatelli), and some were Sparks, Nevada
Elvis impersonators (Dandrieu). Le Concert, the quintet that performs this music, seem to be engaging young people who are masters of their instruments. I have nothing but admiration for their talents and enthusiasm. But sometimes, when I wake up and find I have run out of Ovaltine, and I see out the window that the neighbors’ kids are playing in my yard again, I get a bit snarky. It’s probably just my Italianate ritardandi rearing their ugly heads again.
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