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Albert Roussel: Divertissement, Op. 6 (1906)

00:00 - I. Divertissement _____ Piano: Robert Veyron-Lacroix Ensemble: Quintette à Vent Français Bassoon: Paul Hongne Clarinet: Jacques Lancelot Flute: Jean-Pierre Rampal Horn: Gilbert Coursier Oboe: Pierre Pierlot Year of Recording: 1955 _____ "Everyone who knew Albert Roussel (1869-1937) seemed to like him personally. He refused to get involved in musical polemics and he was a generous friend to any number of young composers entering the profession. He provided a forum for many through his position as president of the French division of the International Society for Contemporary Music (ISCM). La revue musicale, the most prestigious French music journal, honored Roussel twice by dedicating special issues entirely to his achievements; the first, in 1929, was accompanied by celebratory pieces composed in his honor by eight eminent figures, including Maurice Delage, Arthur Honegger, Jacques Ibert, Darius Milhaud, and Francis Poulenc, and a “Who’s Who” of leading French musicologists and critics lined up to inscribe appreciations of the man and his music. At that point, some of his best work still lay ahead, including his Third and Fourth Symphonies, his ballet Bacchus et Ariane, his Concertino for Cello and Orchestra, and his String Trio. Following Roussel’s death, in 1937, his colleague Charles Koechlin summed things up: “He was a complete artist—a musician, a thinker, a man.” His musical awakening came late. His early years were tragically unstable—his father died when he was one, his mother when he was eight—and he moved from house to house to be raised by a succession of relatives. In 1887, he entered the Naval Academy and soon embarked on a career as a naval officer. In 1892, he made his first stabs at composition while on an ocean voyage. He entered the Schola Cantorum in Paris and so excelled in the theory classes taught by the organist Eugène Gigout and the music history and orchestration classes of the school’s director, Vincent d’Indy, that he was invited to assume the direction of the Schola’s counterpoint classes, which he did from 1902-14. His pupils at the Schola included Erik Satie and Edgard Varèse, both of whom felt they learned a great deal from him even if they chose not to apply it to their own compositions. In ensuing years, Roussel enriched other interesting composers through private coaching, including Alexis Roland-Manuel, Knudåge Riisager, and Bohuslav Martinů. Though Roussel was a contemporary of both Debussy (seven years his elder) and Ravel (six years his junior), he did not grow up perforce compared to either and developed a style of distinct originality. In an essay on Roussel’s stage works in the 1929 Revue musicale, the insightful pedagogue Nadia Boulanger observed: “One might be so bold as to say that before he understood what his true vocation was to be, even before he became aware of musical language, he already ‘contained’ his music. Whereas most musicians learn to speak before they learn to think, he thought before he could speak, and in such a way he created the language of his esthetic. From that resulted unexpected affinities that seemed audacious or bizarre but that for him were obvious and natural. If it is true, as Oscar Wilde puts it, that it is not the era that makes the man, but the man who makes the era, the language of Albert Roussel is already classic.” The Divertissement makes a case for her contention. Think of its date: 1906. Listen to it: how could it have been written prior to the 1920s? One can hear that its ancestry reaches to Debussy, who was at mid-career in 1906, but on the whole this piece displays a flavor very like Poulenc, Milhaud, and the world surrounding Les Six—or even of composers like Ibert and Jean Françaix who followed them. Its spiky piano syncopations, its cheeky woodwind themes, its carefree shrugging-off of dissonance—such things all sound like the product of a composer acquainted with Stravinsky’s breakthroughs, yet in 1906 Stravinsky had not yet made a dent in the international musical consciousness. When Roussel’s Divertissement was played at the 1923 ISCM in Salzburg, listeners found it entirely up-to-date, even though the composer had signed off on it seventeen years before." (James Keller) _____ © COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.