G. Catoire, (Γ. Κатуар), Chants du Crepuscule, Op. 24 (complete set)

[rachfan]

For the convenience of the members and visitors to Piano Street, I've consolidated Catoire's Chants du Crepuscule (Songs of Twilight) here.  I hope you'll enjoy hearing these wonderful pieces in the proper order as intended by the composer.  They are marked as follows:

No. 1  En revant
No. 2  Capricciosamente
No. 3  Tranquillo
No. 4  Poco agitato

Comments welcome.

Piano: Baldwin Model L Artist Grand (6’3”).  
Recorder: Korg MR-1000
Mics: Earthworks TC20 matched pair of small diaphragm omni-directional condenser microphones

[furtwaengler]

I really enjoy having these together in one place as are the Op. 17 Preludes here:

https://www.pianostreet.com/smf/index.php?topic=33929.0

I'm also overjoyed at how even is the download count for each piece in both sets! It shows that the threads are working to the purpose given them, and also the interest you've stirred up in these pieces by Georgy Catoire.

I've been listening to both the op. 17 Preludes and the Chants du Crepuscule in their order, expressive pieces they are. I think I've not heard your piano sound so rich as it does in op. 17 no. 3! Really, they all sound amazing. The Chants are a perfect tent above this calm night, with the moon blazing through the clouds. Tonal expressionism, I should think...or the point where impressionism meets expressionism. There is something subtle but surreal, something concrete but expressed in abstraction. Then there is an influence of Scriabinical mysticism looming large, but I catch even in a glimpse, a nod to Tchaikovsky in op. 24 no. 4 which had not so jumped out at me on first listen. Catoire is very individual in his expressiveness, but these sorts of influences and illusions really do make me happy.

Listening to them in this order gives rise to interpretive ideas I'd love to try...oh, but when? Your presentation of these pieces have created a hunger, and longing...I regret not having time to sit down and explore them myself in the near future, but soon!

Excellent work! And thanks so much for sharing your work! I love these pieces!

[ronde_des_sylphes]

You are to be congratulated on the service you've performed for this neglected composer. Your playing is consistently both convincing and musical. Excellent work and I look forward to hearing more.

[rachfan]

Hi furtwaengler,

Thanks so much for listening again to these Catoire pieces in the complete sets.  Caution: They become addictive!    There is that constant interplay between the tangible and the abstraction as you mention.  I do believe that all of these pieces are about passion, both recalled and in the moment. Evidently Catoire was very complex.

Yes, although we hear the vocal textures of Wagner, the polyphony of early Scriabin and flashes of the later mysticism, and the shifting tonal centers of Faure, Tchaikovsky was certainly an influence as well. Catoire actually knew Tchaikovsky, and the latter was keenly interested in Catoire's early efforts at composing.  Tchaikovsky introduced Catoire to P. Jurgenson, his own publisher, and also referred Catoire to Rimsky-Korsakov for more training in composition.  So there was a definitely a friendship there.  And who better than Tchaikovsky could write a tune?  I'm sure that rubbed off on Catoire, which is why you hear that particular influence.

I too am frequently aware of that narrow pathway winding between impressionism and expressionism that Catoire so often treads and explores.  To me that tangential divide probably feels like touching the very edge of the universe.  Alban Berg was a contemporary of Catoire, but I do not know if Berg was ever aware of Catoire's music, for the very same reasons that nearly most of us have been unaware of it.  Had Berg heard Catoire's works, I feel sure he would have loved them.  Likewise, I think had Catoire been able to hear, for example, Berg's "Seven Early Songs" for soprano and orchestra, would have been taken by the expressionism.

Getting a rich sound from my Baldwin is a challenge.  The piano, recorder, and microphones are all very good and up to the task.  But the living room itself is a limitation, and with the furnishings and carpeting, I think it robs the piano of some of its "bloom".  (Room recordings are seldom easy for anyone.)  Yet sometimes I can attain that rich sound.  The tuner has been most conservative in voicing the relatively new Ronsen Wurzen hammers, as he likes the vibrancy of the piano, as it counteracts the properties of the room I mention.

Thanks again for your interest in this music.  I greatly appreciate it!  

[rachfan]

Hi ronde,

Thanks for that very nice compliment on my playing!  And yes, there is more to come.  I'm now at work on Catoire's Quartre Morceaux, Op. 12.  These are different still from the other two opuses I posted, and offer some tall challenges as well.  I hope I can get them to yield to me. The No. 1 is shaping up nicely thus far.  I hope to record it in the not-too-distant future.  

By the way, I haven't forgotten Bortkiewicz and fully intend to do more of his ravishing pieces too.  It's interesting that Bortkiewicz, despite his own captivating brand of originality and the great beauty of his music, ultimately falls more on the traditional side of Late Romanticism in my opinion.  Catoire strikes me as being more daring, abstract, and exotic.  He has a unique way of eclectically blending late romanticism with brush strokes of impressionism and expressionism.  There is nothing else quite like this music.  So I find interpreting Catoire to be totally absorbing, which explains why he has such a strong hold on my attention for the time being.  That's a good thing though, where Catoire, like Bortkiewicz, has some fans here.  

[wpasman]

I'm really amazed how your excellent playing exposes and unfolds this complex piece.

[rachfan]

Hi wpasman,

I'm glad you found this set back in the archives and enjoyed this wonderful music of Catoire.  Thanks too for your compliment on my playing!

[emill]

Hi David!

I try to listen to all the Catoire pieces you post and must admit
that i have yet to reach that level of appreciation those schooled
in the piano have for the composer. But one thing though, your
exchanges with Dave have greatly enlightened me regarding this
"under appreciated" composer and his style.  I know more is coming....
THANKS!

Emill

[rachfan]

Hi emill,

I absolutely love Catoire's piano music.  And these Songs of Twilight are like none others he had written.  They're challenging to play, but well worth the effort.  I think Catoire was a very deep thinker and he was experimental as well.  When I listen to the Four Preludes, the Songs of Twilight, and and the Four Pieces, he never once repeated himself, and he employed different idioms among these sets to best create the moods and atmosphere he wanted.  At the moment I'm working on other repertoire, but someday hope to visit Catoire again.  He rules!

Thanks for listening again.

David