G. Catoire, Chants du crepuscule, Op. 24, No. 4

[rachfan]

Georgy Catoire composed his Chants du Crepuscule (Songs of Twilight), Op. 24 in 1914.  These pieces are all translucent and a bit impressionistic, but with a lush late romantic tinge.  The “Chant No. 4” in A minor is a lyrical, intimate and passionate piece.  When first viewing the score, I underestimated its virtuosic demands, quite frankly, so I had to do my best to push my more modest limits.  I hope you’ll enjoy hearing it.  ( Previously, I posted here the Chants Nos. 2 and 3.)

Comments welcome.

Piano: Baldwin Model L Artist Grand (6’3”).  The lid was on the shorter “singer” prop.
Recorder: Korg MR-1000
Mics: Earthworks TC20 matched pair of small diaphragm omni-directional condenser microphones

[furtwaengler]

This is exceptional, rachfan. Thank you for posting it. You've successfully captured an intense, unstable world without any impediments from the stability of attempting to play it. It's a fluid performance exhibiting great freedom.

It's no small thing you've done, mastering Catoire's idiom and recording these pieces for us. You're love for the composer drips out in every moment, and...really how can we of pianostreet express our gratitude for the marvelous gifts you continue to give us in your deeply considerate recordings!

Thanks for posting. 

[rachfan]

Hi furtwaengler,

Thanks for your very generous comments!  I'm glad that you enjoyed this work so much.  Yes, I absolutely love Catoire's music for piano.  Where it has such inner beauty, it's a pleasure to present this music here.  Just having people enjoy it is all the gratification I need.

Thanks for listening to this music!

[goldentone]

Hi Rachfan,

Another masterpiece from Catoire.  As in your previous recording, the Chants No. 2, this Chants follows suit in character that is complex and concentrated.  He also utilizes the sunsetting coda once more, where we can recover and digest all that has been released.  The music in the coda is really amazing--I love it!  I can't say enough for Catoire's originality.

I listened along with the score, and it is a challenging piece indeed.  Catoire really keeps you on your toes, doesn't he?  It's a short piece, but he won't let you breathe until the end.  I think technically it sounds excellent.  Another superb performance, Rachfan--you've done it again!

[ronde_des_sylphes]

It's no small thing you've done, mastering Catoire's idiom and recording these pieces for us. Your love for the composer drips out in every moment.

Yes, I wholeheartedly agree with that. It's a thoroughly convincing performance, well phrased and with appropriate use of rubato. The coda in particular is played most effectively.

The one suggestion I would make is regarding the molto agitato section - I think it needs to be more agitato (though this is of course a matter of taste). I don't think you have to go faster to do this; personally I would be inclined to experiment with placing greater accents on the tenuti. In the descending passage at the top of page 3, your accents fall on the second of each group of three and I'm not sure about that. These are of course small quibbles only - it is a fine recording!

[imbetter]

Well, to me Catoire is a middle of the line composer but your performance was very intense and captivating and I enjoyed it a lot.

[rachfan]

Hi goldentone,

Yes, complexity is always at the heart of Catoire's scores, perhaps because he was also a professor of composition.  I find too that it's not aways apparent from the very first examination of a score.  He sort of lures you in, and once you're practicing you realize that it will not be a cake walk!  The figuration is always intense in some way or other. I love Catoire's codas too.  They're all written differently, but achieve that same winding down effect ending in total rest and tranquility.  

Thanks for you nice compliment.

[rachfan]

Hi ronde,

Thanks so much for your kind comments about my performance.

The agitato--aarrrgggg!  What a bear!  Yes, the tempo at which I play it is about my limit due to the complexity of those ascending passages with the unexpected tonalities that are hard to ingrain in the brain even with intensive practice.  Hamelin, of course, ripples right through them effortlessly.  Your idea on creating the agitato effect without increasing tempo was exactly what I was striving for.  I even circled all the tenuto markings.  The problem was (and you caught it too), that while I tried to emphasize the tenutos (not entirely successfully though), I failed to also work at quieting down the the other notes within the groups of three.  Thus the desired differentiation wasn't fully revealed.  I think this is one of those pieces one could revisit many times later on, as I probably will in future.  At this point in time, I was feeling that with increasing practice I was nearly reaching the law of diminishing returns for the time being.  So I decided to cut loose and do the recording, which, can probably be considered a work in progress, as is, actually, the case with every so-called "finished" piece.

I appreciate the critique.

[rachfan]

Hi imbetter,

I'm so glad you took time to listen, especially where Catoire is not one of your favorite composers. Catoire is not for everyone (like any other composer for that matter), but he does have a wonderfully original idiom.  In this piece he also lets in hints of Wagner in the polyphony with vocal textures.  And there are nods too to Scriabin with the unexpected tonalities at times.  And the shifting passage work recalls Faure a bit.  When he combines his own originality with these other influences, the result is not only eclectic, but often stunning, especially when he imbues it all with an ultra-romantic sound.  I believe this is the quality that often appeals to those like me who truly love Catoire's music.  But I do understand your viewpoint.  For example, as much as I listen to Medtner and try desperately to like his music, he still hasn't captivated me yet.  If you haven't listened to the Chants Nos. 2 and 3 posted earlier, perhaps they might appeal to you more than this Chant No. 4. Thanks again for listening!

[imbetter]

Hi imbetter,

I'm so glad you took time to listen, especially where Catoire is not one of your favorite composers.  Catoire is not for everyone (like any other composer for that matter), but he does have a wonderfully original idiom.  In this piece he also lets in hints of Wagner in the polyphony with vocal textures.  And there are nods too to Scriabin with the unexpected tonalities at times.  And the shifting passage work recalls Faure a bit.  When he combines his own originality with these other influences, the result is not only eclectic, but often stunning, especially when he imbues it all with an ultra-romantic sound.  I believe this is the quality that often appeals to those like me who truly love Catoire's music.  But I do understand your viewpoint.  For example, as much as I listen to Medtner and try desperately to like his music, he still hasn't captivated me yet.  If you haven't listened to the Chants Nos. 2 and 3 posted earlier, perhaps they might appeal to you more than this Chant No. 4.  Thanks again for listening!

I 100% agree with you and I do think Catoire has many great things about him but he just doesn't always captivate me as much as other composers. I believe you brought everything you said in your post out in a very effective manner. The reason I listened to this recording is because I've always much enjoyed your Rachmaninoff and Borkiewicz and I've never heard this piece before so I figured I'd give it a listen.

Thanks you sharing.

[richard black]

Nice piece, generally well played. I reckon you could be bolder with your rubato and use more singing tone - and go easy on the pedal, it's a little washy at times.

[rachfan]

Hi Richard,

Thanks for the critique.  The singing tone is a bit more difficult to achieve on Baldwin than Steinway.  It has a slightly faster tone decay and thus is a little more percussive in character, although I've always enjoyed the instrument.  I tried to use mostly half-pedaling due to the passing tones in the passage work, but even at that it was difficult to always achieve full clarity.  Something to work on.  Thanks again.