ALEXIS DESCHARMES

With the Trois Strophes sur le nom de SACHER for solo cello, we are exposed to the mature Dutilleux, one of the most remarkable composers of the late 20th century. The genesis of the three “stanzas” was a commission by cellist Mstislav Rostropovich to write a piece for Paul Sacher’s 70th birthday. Dutilleux responded with the first of the ‘stanzas’ and later added two further movements. Rostropovich had already given the first performance of Dutilleux’s great cello concerto, Tout un monde lointain….and so the composer was undoubtedly familiar with the cellist’s fabulous technique and sumptuous tone. Dutilleux was not the only composer commissioned to celebrate Sacher’s special occasion, but one of twelve. Dutilleux produced a technically demanding composition with the two lower strings of the cello tuned lower, the G string to F sharp and the C string to B flat and he gradually introduced the name SACHER into the music by means of the musical notation. He employed a variety of technical effects and quoted Bartók’s Music for Strings, Percussion and Celesta in the first of the stanzas. Sacher of course had commissioned Bartók for his famous work. Thus, Dutilleux created a kind of double homage here. The three stanzas as a single composition work beautifully, with the second one a slow movement followed by a finale marked vivace. All three stanzas contain a reference to Sacher’s name. I don’t have Rostropovich’s definitive account to hand, but Alexis Descharmes is an eloquent advocate of the work. His technique is formidable and he has a rich and beautiful tone. I found his performance preferable to the very good one by Tatjana Vassilieva on Naxos. He phrases exquisitely and does not shortchange either the ebullience or darkness of the music. He seems to revel in such effects as glissando and quasi col legno inhabiting the piece. His attention to the full range of dynamics is unimpeachable. In every way, this is a deeply satisfying performance.  Leslie WRIGHT -

Music Web international - Juin 2017