![]() ![]() The French style offers a tangy alternative to Walter Gieseking’s much-emulated wispiness in Debussy and Ravel, and Jean-Philippe Collard dispenses requisite doses of Gallic point and clarity. The awkward but ambitious Dukas Sonata escapes with a little more expressive profile. Alas, this latter approach predominates in the remainder of Duchâble’s programme: Liszt’s transcription of Berlioz’s Symphonie fantastique becomes a tangle of jangling notes, and brittle brilliance kills off any latent charm in a Saint-Saëns group. For my taste, Duchâble’s clipped octaves in Chopin’s Scherzo in C sharp minor prohibit the ideal torrential effect, and the surges of passion and despair in Liszt’s Funérailles go for naught in so unrelievedly forthright a performance. There is also an expressive ideal that favours energetic detachment over subjective poeticising.Īs it turns out, although Duchâble delivers the Chopin Scherzos and a selection of Liszt favourites with something of a French accent, those performances achieve a generally satisfying blend of rumination and virtuosity. ![]() It has a characteristically bright sonority that stems from a technique emphasising clarity of touch and articulation, as well as from tendencies to balance toward the top of textures and to play at generous dynamic levels. Among other features, the French school is known for its jeu perlé, a feathery but fingery way of playing rapid filigree (hear the reprise of primary material in François-René Duchâble’s performance of Liszt’s E major Polonaise for a fine example). Taken as a group, these recordings demonstrate that basic features of a long-standing French school of piano playing were alive and well among youngish pianists in the Seventies when most of these recordings were made. PERFORMER: Jean-Philippe Collard, Michel Béroff (piano) Miroirs Jeux d’eaux Valses nobles et sentimentales Gaspard de la nuit Le tombeau de Couperin WORKS: Images Estampes En blanc et noir L’isle joyeuse Lindaraja Masques. ![]()
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