Chamber Music For Wind Instrum

Not all of Jean Francaix's extensive output is equally memorable (and as another reviewer here points out, his compositional range is fairly limited), but you can rely on the composer for expertly crafted, spirited music well-written for the instruments in question. On this disc the Gaudier Ensemble gathers together several excellent examples of his uplifting, life-affirming and mostly jovial music together with what must stand as a near-masterpiece of somewhat more profound character, the clarinet quintet. The witty Divertissement from 1942 is a case in point - exquisitely crafted melodies, superbly laid out for the instruments and nothing outstaying its welcome; for the most part humorous and quick-paced, but with a quite beautiful Lento as the centerpiece.

L'heure du berger stems from five years later and is another light work with a foot in the music-hall - exquisite background music with some genuinely humorous touches (the `Pin-up girls'). Reminiscences of lighter Poulenc are clearly audible, as they are in A huit from 1972, which abounds with fun and liveliness, and sports some marvelously gossamer-light instrumental touches and clear textures; a mostly tasteful and tasty work that turns into an over-the-top Viennese waltz.

But it is the clarinet quintet from 1977 that is the obvious highlight; the life-affirming, sunny spirit is still there, but the work as a whole is altogether more profound. It starts off with a warmly dreamlike Pastoral that turns into an energetically playful movement, but with a gorgeous slow movement and sunny, but quite memorable last movements (especially an utterly convincing and satisfying finale). No qualms whatsoever about the performances from the Gaudier Ensemble - this is exquisite, sensitive playing, with lightness of touch and beautifully shaped melodies; never taking the music too seriously, but never overlooking the more profound strands either (and sporting some marvelous solo contributions). In short, this is the most excellent introduction to the composer I could think of, and it is all given a warm, spacious recording. Strongly recommended.

Jean Françaix (1912-1997) was one of France's gifts to twentieth-century music. Unfortunately, he was overshadowed by members of Les Six and others. Except for Germany, where his music is played with some regularity, he seems to be rarely heard in public these days (although musicians appear to love to play him when they are playing privately for their own pleasure). This is a shame because his music is always expertly crafted, unfailingly tonal and melodious, and informed with one of the keenest wits of his time. I find that I reach for his music when I need a pick-me-up. He has a light touch without being light-weight. On this disc are four marvelous chamber works played with affection and expertise by the Gaudier Ensemble, a group of musicians who are primarily principals in some of the finest European orchestras. In the final suite, 'L'heure du berger,' they are joined by pianist Susan Tomes, founder of another fine group, Domus.

'À huit' ('Octet', 1972)) for the same instrumental grouping as Schubert's famous 'Octet' (string quintet, clarinet, horn, bassoon) is a four movement work, three of which are up-tempo and definitely 'scherzando' (in its original meaning: 'joking'). The first movement begins with a melancholy main theme that leads one to believe that the movement will be some sort of dirge, but it quickly breaks out into an 'allegrissimo' main section that seems to say 'enough seriousness!' as it plunges ahead into a scamper down the Champs Élysée. This is followed by a pizzicato Scherzo whose main theme is taken directly from that of the first movement and if anything it effervesces even more than its predecessor. The flowing Andante-Largo provides a brief tuneful respite that seems to have an air of regret. But this is forgotten when IV, 'Mouvement de Valse', comes along and makes one think of elegant ladies in flowing gowns partnered by handsome men in tails as they circle the dance floor.

The four-movement 'Divertissement,' (1942) for bassoon and string quintet, is a concerto in all but name. It was composed during some of the darkest days of the Nazi occupation of France in World War II. Bassoonist Robin O'Neil negotiates the work's treacherous leggiero and vivacissimo demands with grace and élan and when it comes time for his bassoon to sing, as in the lento second movement, he does so heartbreakingly. The allegro last movement - spoiler alert! - has a delightful joke ending. 'Divertissement' is followed by another concerto in all but name, the more familiar 'Clarinet Quintet' (clarinet and string quartet, 1977) and features clarinetist Richard Hosford who combines silky tone and musicianly phrasing with graceful fluidity. The third movement, one of the few completely serious movements on the entire disc, opens with a plaintive modal motive on the solo viola (sounding momentarily like it has been lifted from something by Vaughan Williams) that is taken up and elaborated soulfully by the clarinet. In one spot in the long cadenza of the last movement, there are some eerie pianissimo tremolos in the clarinet's chalumeau register that make one marvel at their beauty and wonder why one has never heard this distinctive sound before; Françaix definitely knows how to write for the unique voices of individual instruments.

The final piece, one of Françaix's best-known, is the brief, 'L'heure du berger' (1947) with its evocatively titled movements: 'Les vieux beaux,' 'Pin-up Girls,' and 'Les petits nerveux.' Lasting barely seven minutes in toto, this little suite for woodwind quintet and piano is subtitled 'Musique de Brasserie', suggesting it is background music for a bustling boîte, but indeed one suspects that even in that noisy environment diners would stop to listen to the boozy dance melodies, cheeky metrical changes and harmonic invention of this little gem. No wonder this piece is a favorite of woodwind players who are able to recruit a lucky pianist to play with them.

This entire CD is performed at the highest level. Françaix's music has suffered to some extent from musical snobs feeling it is trivial, but close inspection (and close listening) reveals that this is music not only of high polish but of high inspiration. So what if it seems not to take itself too seriously? We could perhaps use more of that.

Strongly recommended.

TT=62'36"

Scott Morrison

If you work through this Hyperion series you end up with a sense that Francaix played with a fairly limited set of musical ideas, but none distinctive enough to say he had a strong style--certainly nothing like Poulenc's or Ibert's or Chabrier's or even Milhaud's. It's nice stuff--light and fun--and this CD of chamber music is a keeper, but I hit bottom with the four CDs in this series and have no further plans to explore Francaix's oeuvre. Francaix is not completely bland, and he is not beneath notice, but "substantial" may be overdoing it a bit. I've given all four Hyperion discs a lot of attention and they get neither more nor less interesting over time; they just sort of plateau quickly, and not at the highest desirable level.