Classical Music: Pierre Sancan A Musical Tribute

Wow! I am reminded of Miranda Hart in her eponymous sitcom, "Such Fun." This CD kicks off with Ouverture Joyeuse pour Orchestre, and it is everything that the title suggests: like a spring that has suddenly uncoiled and is going round and round, it is raucous and amusing. One could be at the circus with all the commotion and rowdiness.

However, if, like me, you had not heard of Pierre Sancan (1916–2008), he was a ‘tremendously influential figure in French musical life’, as a composer, pianist, teacher, and conductor but is relatively unknown outside France. That is something Jean-Efflam Bavouzet and Yan Pascal Tortelier will surely change with this musical tribute by Bavouzet, who was taught by Sancan, and Tortelier, who was inspired by him.

Lionel Esparza, in his notes, gives context to this multi-gifted musician who had a big personality, was a superb piano teacher, and, after the war, had one desire: to compose. He is remembered through his 'extraordinary pianistic imagination but even more by his physical allure and overwhelming personality'

Bavouzet evokes the man in his enlightening reminiscences: "Sancan was a sunny, radiant character who, through his music, his kindness, his openness and largeness of spirit, his passion... inspired and enlightened so many of us."

If you want compositions and performances that showcase this sunny radiance, then look no further. They ooze with an irresistible zest and a joie de vivre, their exuberance captured with a sparkling effervescence. The soloist and orchestra rise to the technical demands and, quite simply, dazzle. There are jazz references and lots of sumptuous harmonies.

Esparza reminds us that, as inconceivable as it may now seem, even in the 1970s and 1980s, jazz was not at all welcomed at the Conservatoire. Described by one horrified professor as ‘soiling your soul’. Sancan was more open-minded: "they are extremely interesting these chords! Let us see what we can do with them". 

The central work is the energetic and virtuosic Piano Concerto, and Bavouzet rises to the challenge with its contrasting moods. It has a lovely lyrical section hauntingly introduced with help from the flutes and a liltingly jazz-infused influence before its whacky dramatic finale, which ends rather strangely, after all the cacophony has subsided, the piano has a quiet last word.

Symphonie pour orchestra a cordes (Symphony for String Orchestra) is a three movement work full of, as Tortelier writes, ‘joviality, mischief, even humour’. Sancan’s ability to write a lovely slow movement is once again showcased here. Lovely harmonies and textures are conveyed beautifully by the BBC Philharmonic’s string section.

The other orchestral work is the Commedia dell’arte Ouverture, unadulterated chaotic fun that builds up into a frenzied pace and further demonstrates Sancan’s adept orchestral writing, and delivered by the BBC Philharmonic with panache.

Adam Walker performs the Sonatine pour flute et piano, an expressive piece that, for me, was enjoyable. It would be a good piece for a flautist in the woodwind category of the BBC Young Musician of the Year. Great rhythmic playing and tone from Walker, and working with Bavouzet as accompanist, the duo communicate the ‘lucid sensitive music of great elegance’.

Bavouzet rounds off his tribute with a quartet of solo piano pieces. A Toccata , and Caprice Romantique written for left hand alone, although you could be misled thinking it was for both hands. A delightful and pretty Boîte à musique gorgeously depicts an unwinding musical box and to close, Mouvement, all four pieces demonstrating the need for technical dexterity.

Throughout, you can hear influences from Stravinsky and Bartok, but if there is one thing to take away, it is that the album is an astonishing and wonderful disc of joyous music vivaciously and energetically performed.