Reynaldo Hahn - Le Rossignol éperdu (Billy Eidi)

Information

Composer: Reynaldo Hahn

• Le Rossignol éperdu

Billy Eidi, piano

Date: 2015

Label: Timpani

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Review

Back in 2001, the late, great Earl Wild, then 86-years-young, gave us the world-premiere recording of Reynaldo Hahn’s exquisite cycle of “53 poèmes pour piano”, collectively titled Le Rossignol Éperdu (The Distraught Nightingale). I raved about Wild’s artistry, and wrote how Hahn’s modestly scaled yet delicious keyboard writing seemed to synthesize early Scriabin preludes, the sparse lyricism of late Liszt, Fauré’s subtle harmonic palette, the delicate balance of Mompou’s piano miniatures, and Massenet’s melodic fluidity. Billy Eidi, a French pianist of Lebanese origin, has now recorded the cycle. His interpretations both complement and contrast to Wild’s.

In No. 7 (Les Deux Echarpes), for example, Wild’s faster tempo creates a more shimmering effect, yet Eidi’s measured tread allows him to phrase the downward left-hand accompanying arpeggios legato and across the bar line, as written. If Eidi’s slower way with No. 9 (Eros cache dans les bois) is more in keeping with Hahn’s “moderé, calme et mystérieux” directive than Wild’s lighter, quicker conception, he labors over the 16th-note inner voices with too many breaks in the steady tempo, as opposed to Wild’s steady, rippling flow. The ceremonial momentum of No. 41 (Les Noces du Duc de Joyeuse) comes through stronger via Wild’s dryer, more rhythmic treatment, while the unison lines in No. 38 Le Jardin de Petrarque prove more delicate and translucent in Eidi’s hands.

In No. 40 (Faunesse dansante) Wild may push Hahn’s proscribed “moderé” a hair, yet his twinkling fingerwork addresses the music’s lighthearted, dancing character more convincingly than Eidi’s relatively flat-footed pace, and he makes the brief, unexpected key change at measure 9 all the more striking as a result. As for the 30-second-long No. 14 (Portrait), Wild’s faster, freer, jazzier take markedly differs from Eidi’s stricter deliberation. Both readings are equally valid and plausible. Further differences and similarities between pianists make a clear-cut preference difficult. Perhaps Eidi adheres closer to the music’s letter, while Wild focuses more on its spirit and character, but that’s a rash generalization. Oddly, both versions have a relatively dry recorded ambience. In the end I slightly prefer Wild, but you can’t go wrong with Eidi. Either way, don’t miss this exquisite music.

— Jed Distler

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Reynaldo Hahn (9 August 1874 – 28 January 1947) was a Venezuelan-born French composer best known for his elegant art songs. Moved to Paris as a child, he studied at the Conservatoire under Jules Massenet and later served as music critic for Le Figaro before becoming director of the Paris Opéra in 1945. Hahn composed operettas, ballets, incidental music and piano works, with Ciboulette (1923) among his most successful stage works. Inspired by literary figures such as Marcel Proust, he created music admired for its lyricism and refinement. His song Si mes vers avaient des ailes remains a concert favourite.

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Billy Eidi (born 17 May 1955) is a French pianist of Lebanese heritage. Trained at the École Normale de Musique in Paris under Magda Tagliaferro and Jean Micault, he has been praised by European critics as a "piano poet" for his expressive performances. Eidi has performed extensively across Europe, the United States and Asia, championing composers such as Debussy, Fauré, Poulenc, Satie and Sauguet. His recordings have received prestigious awards, including the Diapason d'Or. Alongside his performing career, he teaches at leading Paris conservatories and regularly gives international masterclasses.

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