Max Zorin, violin; Christopher Guzman, piano.
Claude DEBUSSY: Sonata for Violin and Piano
Cèsar FRANCK: Sonata in A major for Violin and Piano
Gabriel FAURÈ: Après un rêve
Soundset Recordings/Tresona Multimedia
Formats: digital [Spotify]
Release Date: February 24, 2024
Total Duration: 44:01
Giorgio Koukl | 2 JAN 2025
Violinist Max Zorin and pianist Christopher Guzman have released an all-French album featuring music by Debussy, Franck, and Faurè.
album art
While the sonatas of Claude Debussy and Cèsar Franck are certainly an established part of the core violin repertoire, the choice of the habitual bittersweet arrangement called Après un rêve by Gabriel Faurè is a risky one. This piece, Op.7, originally for voice and piano, has been used and overused in far too many recitals, commonly played with a saccharine sweet expression on the face, mostly with exaggerated expressiveness until becoming nauseating. Luckily, the version of Zorin and Guzman escapes such a dangerous trap, staying well in the range of good taste. Still, the question arises as to why it would be necessary to add these 4 minutes to such a marvelous and well-chosen repertory.
But let us enter more into the details of the Debussy sonata. Claude Debussy’s Violin Sonata in G minor, his final major composition, holds a special place in music history for its blend of elegance, innovation, and deeply personal expression.
Debussy composed the Violin Sonata during World War I, a tumultuous period that deeply influenced his creative process. As a patriotic gesture, Debussy aimed to write a series of six sonatas for various instruments to honor French musical traditions. Unfortunately, he completed only three before his death: Sonata for Cello and Piano (1915), Sonata for Flute, Viola and Harp (1915), and Violin Sonata (1917). By the time of its composition in 1917, Debussy was battling the advanced stages of colon cancer. His declining health and the emotional toll of the war made the sonata a profoundly introspective work, filled with both yearning and flashes of strength. The premiere of the Violin Sonata took place on May 5, 1917, in Paris, with Debussy himself accompanying on the piano and Gaston Poulet playing the violin. This was also Debussy’s final public performance. Despite his frailty, the performance was well-received, with audiences appreciating the sonata’s intricate interplay between the violin and piano and its uniquely French character.
Pianist Christopher Guzman.
Debussy’s sonata is structured in three movements. “Allegro vivo,” which is energetic and rhythmic, contrasting lyrical violin lines with playful piano passages. We can certainly admire the elegance and sure choice of playing technique of the pianist Guzman here. Both musicians are perfectly at ease together. “Intermède: Fantasque et léger,” a light, whimsical interlude with irregular rhythms and harmonic surprises. Some very refined rubati can be heard here, and it is probably the best part of this installment. “Finale: Très animé,” is a lively and spirited conclusion, showcasing Debussy’s flair for blending traditional forms with modern harmonies. It was played maybe a hint too hastily, but overall, it was a good rendering of the rarefied atmosphere.
César Franck’s Violin Sonata in A Major is one of the most celebrated pieces in the violin and piano repertoire. Composed in 1886, it is considered a masterpiece of the Romantic era. The tempi chosen by the violinist are generally very convincing, as is his bowing technique, never exceeding what the French would call “bon gout.”
The sonata was a wedding gift for the famous Belgian violinist Eugène Ysaÿe. Franck presented the work to Ysaÿe on the day of his wedding to Louise Bourdeau on September 26, 1886. Ysaÿe, a champion of Franck’s music, would go on to play the sonata extensively, helping it gain widespread acclaim.
By the time Franck wrote this sonata, he was 63 years old. Although he had long been an organist and professor, his recognition as a composer came late in life. It is part of a series of works from his late period that solidified his reputation, including the Symphony in D minor and Piano Quintet in F minor.
The sonata was premiered informally at Ysaÿe’s wedding celebration, where Ysaÿe and pianist Léontine Bordes-Pène performed it. Later, a public premiere took place in Brussels in December 1886, again with Ysaÿe as the violinist. Its reception was overwhelmingly positive, and it became an instant favorite, with Ysaÿe making it a cornerstone of his recital programs throughout Europe.
The sonata is in four movements. “Allegretto ben moderato” is a lyrical and introspective opening with a songlike quality. “Allegro,” a vigorous and passionate second movement with dramatic contrasts. “Recitativo-Fantasia: Ben moderato,” a free-form, improvisatory third movement, showcases deep emotional expression. The famous final movement, “Allegretto poco mosso,” is written as a radiant canon between violin and piano, representing unity and resolution.
The violin and piano are treated as equals, with each instrument contributing to the lyrical and harmonic fabric. In this sense, the duo Zorin and Guzman are well-balanced and perfectly together rhythmically. Since the Violin Sonata is particularly famous for its seamless interplay between the two, often resembling a dialogue, this is a not-so-common achievement.
This sonata became one of Franck’s most popular works almost immediately after its premiere, largely thanks to Ysaÿe’s advocacy. Its lush harmonies, emotional depth, and structural innovation influenced future generations of composers, particularly in France and Belgium.
This album, greatly supported by a very good sonic capture, is certainly well worth recommending. ■
EXTERNAL LINKS:
- Max Zorin: maxzorin.com
- Christopher Guzman: christopherguzmanpiano.com
Read more by Giorgio Koukl.
