The Boston Symphony Orchestra has had a commitment to chamber music since the days of Erich Leinsdorf in the 1960s and the founding of the Boston Symphony Chamber Players. This ensemble comprises the first chairs (principals) of the wind and string departments of the orchestra, making a wind quintet and a string quartet. With the addition of some visiting players, the BSCP on this disc is able to field a trio, a quartet, a quintet, a septet and a dectet to complete their well-planned programme of 20th Century French chamber music. The disc's title is no doubt a reference to Debussy's 'Danse sacrée et danse profane' of 1904 (not on the disc because it calls for the orchestral complement of strings) which appears to have inspired several of the featured chamber works.

The ambitious scope of the programme encompasses music from 1905 (Ravel) to 1990 (Dutilleux), and embraces a wide range of additional instruments, from harpsichord to varied percussion. Despite this, however, the bulk of the music is of a contemplative nature, be it warmly lyrical and perfumed (Ravel's familiar 'Introduction and Allegro' scored for harp, string quartet, flute and clarinet), or spikily abstract with Jazz undertones (Dutilleux's 'Les Citations' for oboe, harpsichord, double bass and percussion).

The word which immediately came to my mind to describe the BSCP performances is "eloquent". Whether assuaging the heart with Ravel's and Debussy's flowing melodies or swapping seemingly random notes in rhetorical conversations in the more abstract music of Dutilleux, every instrumentalist makes their instrument speak meaningfully. I'm not quite sure if this applies to some of the "alien" sounds which Dutilleux extracts, but these certainly test the player's virtuosity and add colour to the ensemble.

One of the least modernist compositions in the line-up is Jean Français' 'Dixtuor' of 1986 for wind quintet and string quintet. This is tuneful, happy open-air music from a tiny orchestra; full of dry Gallic wit and tickling the ear with unusual sonorities and textures. Henri Tomasi (1901-71), however, in his own set of five sacred and profane dances for wind quintet, looks to Stravinskian burlesque with piquant harmonies and interlocking soliloquys. The Boston winds wear their virtuosity lightly in this set of movments, and clearly relish their challenges.

A fine recording is required to capture so many colourful instrumental combinations, and this is what we get. The microphones are moderately close (seemingly varied in positioning to suite the different ensembles), but not unduly forensic. Details of overtones, attack and other instrumental characteristics are well-conveyed. The ambient character of Mechanic Hall in Worcester, MA is not, however immediately obvious, although there is sufficient bloom on instrumental tone. The Ravel item in particular sounds simply gorgeous, with a decent front to back perspective not always present on other tracks. Without the need to be prepared in several different languages, the booklet benefits from extensive and informative notes on the music from Robert Kirzinger, Assistant Director of Programme Publications for the BSO.

For those chamber music lovers who are prepared to extend their horizons, this is a delightfully informal, beautifully performed and well-recorded outing, ripe to be added to any one's disc collection.

Copyright © 2011 John Miller and HRAudio.net

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