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The French symphony of the late 19th Century is a fascinating discourse, especially when it seems most of the composers involved contributed just the one work! Apart from the five of Saint-Saëns, Franck, Chausson, Dukas, Lalo and even Debussy, who penned a short work in his juvenilia, belong in this category.
When it comes to recordings the works have fared well in terms of quality rather than quantity, though major conductors are now seemingly recognising the worth of the Chausson as well as that of his teacher César Franck. Both are passionate, melodic and dramatic scores.
Written within four years of each other, the compositions both apply Franck's cyclical principle - that is, the interrelation of themes from different movements, brought together in the final movement as a climax to the work.
In Chausson's case the influence of Wagner looms large yet is successfully incorporated without sounding derivative. Janowski emphasises this, however, in his treatment of the melodic and harmonic movements. The slow movement motif stresses the tension and partial resolution of these harmonies, in contrast to the exuberance of the first movement when the Allegro vivo kicks in.
The introduction of this movement is keenly felt, with horns piercing the texture as the minor key asserts itself more. Janowski keeps a tight grip on the structure, too, and opts for relatively fast speeds, giving the music a forward emphasis in the manner of Paul Paray's celebrated recording for Mercury in 1968.
The Suisse Romande recorded both these works for Decca in the 1960s under Ernest Ansermet, and clearly have the music in their blood. César Franck's well known symphony - less performed of late, it should be noted, is a wonderfully affirming score, and the orchestra have held on to their luminous approach as perfected by Ansermet.
Janowski brings plenty of energy to it, and presents an enjoyably sparky second theme in the first movement. The relatively sombre Allegretto is kept moving thanks to the steady tread of the lower string accompaniment, Janowski’s wind intoning the semi-chorale figure with a solemn gravity.
When these elements are brought together in the finale, the rush is palpable, particularly in its exposition, and Janowski projects the thematic material carefully but effectively.
Occasionally the orchestra could have done with more power in the fortissimo passages, especially in the Franck, but these are essentially two high quality interpretations of two wonderful French symphonies. Recorded with great detail on Pentatone's hybrid SACD format, they represend a sound investment in every sense of the word.
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