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Solitaires - Stott

Solitaires - Stott

BIS  BIS-2148 SACD

Stereo/Multichannel Hybrid

Classical - Instrumental


ALAIN, Jehan (1911–40): Prélude et fugue for piano, JA87A (1935)
DUTILLEUX, Henri (1916–2013): Piano Sonata (1946–48) (Durand)
RAVEL, Maurice (1875–1937): Le tombeau de Couperin, suite for piano (1914–17)
MESSIAEN, Olivier (1908–92): from Vingt regards sur l’Enfant-Jésus (1944) (Durand) - XV. Le baiser de l’Enfant-Jésus

Kathryn Stott, piano


From the French piano literature of the first half of the 20th-century Kathryn Stott has selected four 'solitaires' – works that in their own distinct ways shimmer and sparkle, each occupying a special place in its composer’s output.

The disc opens with Jehan Alain's brief Prelude and fugue, composed in 1935. Alain, who died at the age of 29 during the 2nd World War, is mainly remembered as a composer of organ music, and did in fact prepare a version of the fugue recorded here for that instrument. The prelude that he had provided for it he considered too pianistic, however, and therefore composed a new one for the organ version.

Alain is followed by the only piano sonata by Henri Dutilleux, written for the composer’s wife Geneviève Joy, who also gave the first performance of the work in 1948. In Dutilleux's own words the music is 'presented above all like a vision, a dream, and when listening one should be carried away, without constraint and without worrying about analysis.’

Composed in 1914-17, the Tombeau de Couperin is Maurice Ravel's last work for piano solo – a suite inspired by the great French clavecinists of the baroque. At the same time the six movements are musical commemorations ('tombeaux'), dedicated to friends of the composer who died during the first years of the First World War.

Closing the disc is Le baiser de l’Enfant-Jésus from Olivier Messiaen's monumental fresco Vingt regards sur l’Enfant-Jésus, a piece inspired by an image depicting the infant Jesus offering a kiss to St. Thérèse de Lisieux. Messiaen himself described his music as one 'which aims at nothing else but to be as soft as the heart of heaven...'

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Comment by William Hecht - September 9, 2015 (1 of 2)

This is an outstanding recital captured in beautiful sound. Each piece is indeed a "solitaire" as in a multifaceted gemstone in an individual setting, but I was particularly taken by the excerpt from Messiaen's "Vingt Regards...". Positively enchanting.

Comment by Hitters - October 26, 2015 (2 of 2)

I like recital recordings. Some people don’t. Some prefer an album to be devoted to a sole composer. Though I understand this approach and have enjoyed hundreds of solo piano recordings dedicated to explore the works of a certain composer, I find it refreshing to listen in a different way. Therefore, I think it is interesting to be exposed to a concept instead, to be invited to underpin various works that might share some connections not immediately evident at first hearing. This album is such a recording. The title refers to the “solitaire”, a singly mounted diamond, especially on a ring, as Jean-Pascal Vachon explains in the liner notes. This metaphor is used in this case to represent the radiance and elegance of French piano music and also the fact that this music is isolated from the history of music in general and unique in the context of each composer’s oeuvre.

I would like to say that this recording does not come as a surprise for me as the artist, Kathryn Stott, has been always extremely curious and courageous regarding the music she likes to investigate and record. A glance at her discography shows a very diverse selection of composers: Gabriel Faure, John Foulds, Erwin Schulhoff’s, Peter Maxwell Davies, Michael Nyman, Delius, Graham Fitkin, besides her duos with Yo-Yo Ma exploring diverse repertoire and with Christian Poltera on specifically Swiss composers such as Martin and Honneger. Her interest in obscure and intriguing pieces is a rare quality we music lovers should be grateful for. So this is not her fisrt recording I enjoy and will certainly won’t be her last.

To the music now. Jehan Alain’s short “Prélude et fugue” open the disc. The first one is a brilliant sounding piece reminiscent in a way of Rachmaninov for the first bars. Then it suggests Messiaen’s slow, contemplative works like the one that closes the recital. This grand sounding composition pays debt to the fact that the composer’s main output is for organ. We may easily have the feeling of listening to an organ in the soft, rumbling, slow notes present along this piece. The Fugue is a whole different kind of animal: hectic, impulsive, it brings contrast to the previous one and opens up the sonorities of the piano, ending in a question.

Dutilleux’s “Piano sonata” is the latest piece from a chronological point of view. This three-movement composition is from his transitional period but shows the hand of an accomplished composer and we may listen already to his original voice. His music pays debt to previous composers like Faure, Debussy and Ravel in its sonorities but has a particular character. I feel, like in his cello concerto and symphonies, a sensual, dreamlike atmosphere pulsated by lyrical moments not far from Poulenc’s concerto for two pianos and again Messiaen. The second movement (lent) is exemplary in this sense. Stott plays these three movements with amazing dexterity and expression, taking full advantage of the sound of this rich Steinway D in the context of the beautifully sounding recording venue that is Hallé St Peters.

Stott takes us then into more familiar territory with the beautiful “Le Tombeau de Couperin” by Maurice Ravel, a sort of hommage to the 18th century French music in general. This tour de force of delicacy and radiance was the last work he composed for solo piano and as usual with Ravel shows a complete command of the piano resources, with varied metrics, always inventive ideas and surprising changes. Though we are more familiar with the orchestrated version, I find this one (just like happens with Moussorgsky’s “Pictures at an Exhibition”) to be the most powerful. Stott’s performance is outstanding, with the transparency and liveliness needed to bring this pieces alive. Used as I was for years with the Gramophone-Awarded set by Jean-Yves Thibaudet I had no trouble at all in getting acquainted with this new performance which I find crystalline, rhythmically alert and gracefully played.

Finally, “Le Baiser de l’Enfant-Jésus” is Messiaen at his most contemplative and mystic. Just as with the Alain’s “Prelude”, Messiaen’s slow piece could also be played on the organ and reminds me of the un-worldly strings of, say, his “Eclairs sur l’Au-Delà” for orchestra. This extremely slow movement with floating harmonies proves to be a proper way to close this exploratory recital.

I wish to mention the natural sound of the piano captured in Manchester by Hans Kipfer (Take 5 Music Production). The extended dynamic range added by the high resolution recording (either in the SACD release as in the high-res download) makes this release a highly recommended one.

© Juan Hitters, 2015