KOECHLIN Chamber Music for Oboe
View record and artist detailsRecord and Artist Details
Composer or Director: Charles (Louis Eugène) Koechlin
Genre:
Chamber
Label: Oehms
Magazine Review Date: 12/2015
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: OC1823
Tracks:
Composition | Artist Credit |
---|---|
Sonata for Oboe and Piano |
Charles (Louis Eugène) Koechlin, Composer
Charles (Louis Eugène) Koechlin, Composer Oliver Triendl, Piano Stefan Schilli, Oboe |
Trio |
Charles (Louis Eugène) Koechlin, Composer
Charles (Louis Eugène) Koechlin, Composer Christopher Corbett, Clarinet Marco Postinghel, Bassoon Stefan Schilli, Oboe |
Au loin |
Charles (Louis Eugène) Koechlin, Composer
Charles (Louis Eugène) Koechlin, Composer Oliver Triendl, Piano Stefan Schilli, Oboe |
Sonata a 7 |
Charles (Louis Eugène) Koechlin, Composer
Anja Kreynacke, Viola Charles (Louis Eugène) Koechlin, Composer Cristina Bianchi, Harp Daniel Giglberger, Violin Heather Cottrell, Violin Henrik Wiese, Flute Kristin von der Goltz, Cello Stefan Schilli, Oboe |
(Le) Repos de Tityre |
Charles (Louis Eugène) Koechlin, Composer
Charles (Louis Eugène) Koechlin, Composer Stefan Schilli, Oboe d amore |
Author: Tim Ashley
Twenty years separate Au loin (1896) and the Oboe Sonata (1916), with its cool, playful evocation of Attic Greece. Yet they remain stylistically close, and Au loin, poised and Fauré-ish, sounds like a trial run for the Sonata’s exquisite nocturne. Like Berlioz, whom he temperamentally resembles, Koechlin’s genius could waver within the span of a single work, and the Sonata, for all its beauty, meanders a bit.
A trio of late works prove revelatory, however. The 1948 oboe d’amore monody Le repos de Tityre re-examines the sonata’s classical landscapes in a depiction of Tityrus, the contented farmer of Virgil’s Eclogues. Sonate à 7, completed shortly before Koechlin’s death, consists of a sequence of dense, fragmentary statements for oboe, flute, harp and string quartet, in which none of the instruments is allotted a dominant role. Trio d’anches (1945), for oboe, clarinet and bassoon, marked the end of the compositional silence that Koechlin, fiercely left-wing, maintained during the Second World War. Written polytonally, it’s music of uncompromising austerity, Bach-like in its rigour.
Schilli is a superb instrumentalist, engaged, fluid and technically assured throughout. Pianist Oliver Triendl joins him for Au loin and the Sonata, the latter fleet-footed, elegant and extrovert – very different from the more reflective approach of Nicholas Daniel and Julius Drake (Virgin – nla). Schilli’s colleagues for Sonate à 7 and Trio d’anches, meanwhile, are drawn from the Bavarian RSO, where he is also principal oboist: in both works, the sense of ensemble is flawless. An immaculate disc, beautifully done.
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