Andrew Clements 

Koechlin: Piano Quintet Op 80; Quartet No 3 – review

The Antigone Quartet and Sarah Lavaud respond superbly to Koechlin's wartime work, writes Andrew Clements
  
  


This disc is a perfect demonstration of what treasures might be waiting to be rediscovered among Charles Koechlin's huge and still drastically undervalued output. Both the Piano Quintet and the Third String Quartet were begun during the first world war, and the bulk of work on them was completed soon after hostilities ended; the Quartet was first performed in 1924, but Koechlin continued to revise the Quintet for another 10 years before it received its premiere.

Both works are reactions to the horrors and the carnage of the war, but stylistically they are very different. Most of the Quartet is identifiably and in some ways unremarkably French, with echoes of early Debussy and Fauré especially in the conversational exchanges of the opening movement, a diatonic slow movement and a folksy, uncomplicated finale. But the Scherzo, which is second in the sequence, is something else altogether. With its martial, trumpet-like flourishes and drumrolls, it evokes the same world as the central movement of Debussy's two-piano En Blanc et Noir, composed around the same time, but there's an extra edge of brittle sarcasm to the music that seems to prefigure early Prokofiev and Shostakovich, as well as the French composers of Les Six, several of whom were taught by Koechlin.

The 40-minute Piano Quintet is even more remarkable: it's an attempt to translate the experience of war into abstract instrumental music. The four movements all have descriptive titles – The Obscure Wait of What Shall Be; The Enemy Attack – The Wound; Consoling Nature; Finale – The Joy, and the first two contain some of the most extraordinary music Koechlin ever wrote. The first movement, spectral and glacially slow, verges on atonality at times; the second, a scherzo, brings two very different musical ideas into violent confrontation; there's then a radiant, consoling slow movement and an unbuttoned, celebratory finale, but it's the memory of the first two movements that lingers. Both works are superbly played by the young Antigone Quartet, with Sarah Lavaud joining them for the Piano Quintet. The whole disc is a revelation.

 

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