In an interesting mix of Laurent Petitgirard's (b. 1950) compositions spanning twenty years of his work, Naxos' latest CD release consists of three string concertos. Each performance is given by a different orchestra and soloist but all are conducted by Petitgirard himself.
The most recent composition on this disc is Petitgirard's Dialogue for Viola and Orchestra (2002). It is described by the composer as a chamber work yet it is scored for large symphony orchestra and solo viola incorporating large bass, percussion and brass sections. Equally curious is the title of the work. The word 'dialogue' implies a conversation or a discussion between two voices seeking an eventual agreement. What we hear for most of the piece is quite the opposite. The musical interaction between the solo viola (Gérard Caussé) and symphony orchestra (Orchestre National Bordeaux Aquitaine) is hampered by interruptions from cutting bass lines, blazing brass chords and heavy percussion which invade the piece. Often the viola is separated completely from the rest of the orchestra, wallowing at the forefront in gorgeous sweeping lines while the orchestra furrows with busy turbulence underneath.
Of course one does not expect a work entitled Dialogue to be without interruptions, and there is an advantage to these ever-changing moods. The frequent separation of the solo viola line coupled with soloist Gérard Caussé's excellent negotiation of the changing musical ideas did allow for the emergence of some poignant and brilliant duets. (Presumably this is also why Petitgirard described this work as a 'chamber' piece).
A most brilliant moment emerges when the main theme appears. At eight minutes into the piece this slow thirteen note motif (reiterated four times with orchestral interruptions) is first introduced by the cor anglais and then repeated in a solo viola and cello duet. In these interjections the orchestra reveals its full capabilities to function as both a support and solo line. The most effective comes in the first orchestral interjection: the harp, celesta and high woodwind create a sparklingly beautiful moment whilst also contributing to the expectant atmosphere.
Elegantly tackling the difficulties of the work, Caussé's highlight is his solo cadenza. Beginning with a virtuoso, fast, technically demanding flourish, Petitgirard exploits all the standard 'contemporary' instrumental tricks, employing pizzicato, harmonics, sol ponticello, glissando and high leaps. Reiterating the theme twice with different, subtle ornamentation, Caussé delivers a poignant and memorable performance.
Gary Hoffmann and the Monte Carlo Philharmonic Orchestra give a tight and moving rendition of the second piece on this disc, Petitgirard's Cello Concerto. The work demands a beautiful sweeping sound and technical assurance from the solo cellist and it is easy to see why Petitgirard chose Hoffmann to perform the piece again (Hoffmann also gave the première of the piece in 1994): he embraces each movement with unfaltering clarity, technical brilliance and exquisite musicality.
All movements are of roughly equal length. The first (and the longest at nine minutes) opens with a repeated motif at both the beginning and end of the piece sandwiching the entire movement. The exceptional orchestral intonation is revealed in Petitgirad's fast unison writing and the movement incorporates technical solo brilliance with an equally energetic orchestral part.
But the second movement is by far the best and the most emotional. Slower and more reflective than the first, Hoffmann and the Monte Carlo Philharmonic Orchestra explore the rich, mellow sound of sadness. After a slight unrest at the beginning, the piece blossoms into beautiful sonority with the solo cadenza as its most moving climax. Taking time to phrase exactly, the high rising tricky passages are executed with an undercurrent of despair but leading beautifully to sotto voce sustained string writing. Hoffmann's interpretation is a touching tribute to Petitgirard's writing.
This dance-like third movement is an enjoyable treat of substantial technical complexity. The fast semiquaver writing at the opening features almost throughout the entire movement, but it is the complex off-beat rhythms, interlocking rhythmic patterns and fast syncopation which make this piece a rhythmic delight. Hoffmann and the Monte Carlo Philharmonic Orchestra skilfully manage the juxtaposition of slow reminiscences to make this movement a disjointed but fun affair.
The final work on this disc is a concerto in one movement for violin chorus and orchestra entitled Le Légendaire. The story is focused on a mystical Other figure who arrives, encounters war and delivers a message of peace before leaving. While this conception seems credible, it is difficult to imagine its effectiveness when Petitgirard's accompanying notes suggest possible Légendaire disparate role models including 'Peter Pan, E.T. or Buddha.' Equally the choral text is written in Esperanto, an artificial language which was founded on concepts of universality. Armed with the provided glossary of twenty Esperanto words, Petitgirard's performance is quite enjoyable.
Le Légendaire begins with eighteen blazing brass chords gathering increasing dissonance and volume until it is suddenly cut off. Light woodwind paves the way for the most expressive component of this work, the solo violin. Although the concerto is written for violin, orchestra and chorus, it is really the solo violin which holds the reins. Augustin Dumay's performance is impressive. Grasping the very core of the piece, his difficult virtuosic role equally straddles the two distinct elements of Petitgirard's writing: war and peace.
Petitgirard's depiction of war is, at times, frightening. The Classical Polish Philharmonia exuberates alarm through a relentless, sustained dynamic level and a powerful percussion section that produces a simple but deafening rhythmic motif. Later, shouting and hissing from the Polish Radio Choir, Kraków, adds to the fear. At times though, the choir's diction is difficult to distinguish which tends to obfuscate the unfolding story.
Demonstrating the full extent of his compositional writing, Petitgirard exploits every orchestral colouring imaginable in a low, quiet, sustained orchestra pedal G at the middle of the concerto. But the real highlight is not the almighty thunderous screams, but the immediate aftermath of such a cut off. After the last cry, a solo violin playing a quasi solo cadenza introduces the final quieter, more peaceful section. The chorus glistens with beautiful soft vowel sounds morphing in and out of the Esperanto text.
A mixed bag. Many viola enthusiasts may welcome Dialogue for Viola and Orchestra as a significant addition to their repertoire but with it brings challenges of separation and interruption of contrasting musical ideas. Petitgirard's Cello Concerto will certainly be successful. But perhaps a more detailed account of Le Légendaire in the accompanying notes would direct the listener through the more programmatic complications of the piece.
By Mary Robb