Louis Vierne; César Franck - Violin Sonatas (Alina Ibragimova; Cédric Tiberghien)

Information

Composer: Louis Vierne; César Franck

• Ysaÿe - Poème élégiaque, Op. 12
• Franck - Violin Sonata in A major
• Vierne - Violin Sonata in G minor, Op. 23
• Boulanger - Nocturne

Alina Ibragimova, violin

Cédric Tiberghien, piano

Date: 2019

Label: Hyperion

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Review

Alina Ibragimova and Cédric Tiberghien have given some compact recitals in which they inevitably have had to omit the Franck sonata that forms the centrepiece of their latest disc for Hyperion. Its absence in those recitals is, nevertheless, an implied presence; it is the work that launched a generation of cyclic sonatas, that was dedicated to Ysaÿe, inspired Franck’s pupil Vierne (who wrote his own sonata for Ysaÿe) and permeated Franco-Belgian music for years to come.

Ysaÿe’s Poème élégiaque was published in 1893 and inspired in particular by the tomb scene in Romeo and Juliet. It was clearly influential on Chausson, amongst others. It’s not been especially popular on disc where it has largely been colonised by Russian violinists, something of a feature of the Ysaÿe discography in the 1960s and 70s in particular. With its quiet insanity, lyricism and funereal paragraphs it evokes a Fauréan sensibility at several points and indeed was dedicated to Fauré and these are the elements brought out by the duo with liquid refinement and great clarity. Members of the beefy Russian school, such as Viktor Tretyakov, habitually played this with the kind of unbridled vibrato-heavy style they brought to Brahms. Ibragimova’s tone production is worlds away – tight, controlled, but light and flexible - and she and Tiberghien bring a genuine sense of introspection and sublimated passion to their performance. She has already recorded the Solo Sonatas for Hyperion, a recording I very much liked.

Vierne’s 1906 sonata is a large-scale four-movement work that reflects the best of contemporary French and Belgian writing, from the alternately stabbing piano figures and the violin’s contrasting lyricism in the first movement, via the deft chromatic drift in the evocative slow movement. Here Ibragimova’s dynamics are finely judged in the softer music and both musicians really attack the contrasting B section, stern and agitato. After the characteristically witty and pert Intermezzo there’s a powerful slow introduction in the finale and then the freewheeling vitality of the Allegro.

The sonata has been recorded by Judith Ingolfsson and pianist Vladimir Stoupel on Accentus 303712, coupled with the Quintet for piano and strings, Op.42 and by Alexis Galpérine (violin) and François Kerdoncuff (piano) on Timpani 2098, a 2-CD set of all Vierne’s chamber music.

The Franck is played with the kind of refined elegance you’d expect from this duo. Tempo decisions are good, and they are careful not allow movements to drizzle into each other, as less perceptive duos are apt to do; each movement retains its own definitive sense of character. The greater burdens in this work are borne by the pianist and Tiberghien proves a laudable exponent. Ibragimova makes a few expressive position changes, especially in the second movement Allegro and there is a clarity and directness to the reading, though not opulence.

Lili Boulanger’s Nocturne of 1911 makes for a sweet envoi, though it’s melancholy to realise that she was to die only seven years later.

Roger Nichols’ sleeve notes are typically astute. Full of correspondences and inter-connections this finely recorded recital disc makes fine programming sense, no matter how many recordings of the Franck you may have and will be especially valuable for the Ysaÿe and Vierne.

— Jonathan Woolf

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Louis Vierne (8 October 1870 – 2 June 1937) was a renowned French organist and composer. Born with severe visual impairment, he overcame significant challenges to become one of the leading figures of the French organ tradition. Educated under influential musicians including César Franck and Charles-Marie Widor, Vierne developed a distinctive style characterized by rich harmonies and symphonic textures. His most celebrated works include six organ symphonies, numerous fantasy pieces, and sacred choral compositions. He died dramatically while performing at Notre-Dame, fulfilling his wish to die at the organ console.

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César Franck (10 December 1822 – 8 November 1890) was a composer, pianist, organist, and music teacher who worked in Paris during his adult life. As an organist he was particularly noted for his skill in improvisation. Franck is considered by many the greatest composer of organ music after Bach. Franck exerted a significant influence on music. He helped to renew and reinvigorate chamber music and developed the use of cyclic form. He became professor at the Paris Conservatoire in 1872, his pupils included Vincent d'Indy, Ernest Chausson, Louis Vierne, Charles Tournemire, Guillaume Lekeu and Henri Duparc.

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Alina Ibragimova (born 28 September 1985) is a Russian-British violinist. Educated at the Yehudi Menuhin School and the Royal College of Music, she studied with leading musicians including Christian Tetzlaff. A former member of the BBC New Generation Artists Scheme, she has received two Royal Philharmonic Society Awards and was appointed MBE in 2016. Ibragimova performs regularly with major orchestras worldwide and frequently appears at renowned venues such as Wigmore Hall and Elbphilharmonie. She records for Hyperion Records, earning critical acclaim for interpretations of Shostakovich, Bach and Paganini.

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Cédric Tiberghien (born 5 May 1975) is a French classical pianist. He studied at the Conservatoire de Paris and received the first prize at 17. Tiberghien wins numerous international awards, including the First Grand Prize and five special prizes at the Long-Thibaud-Crespin Competition. For Harmonia Mundi he made several solo festival recordings: Debussy's piano works, Beethoven's Eroica Variations, Bach's partitas, ballades by Chopin and Brahms. As a dedicated chamber musician, Cédric's regular partners include violinist Alina Ibragimova, violist Antoine Tamestit and baritone Stéphane Degout.

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