César Franck (1822-1890) was a favourite of Proust, and the story goes that he turned up at violinist Gaston Poulet’s house at midnight, demanding to hear Franck’s String Quartet. They gathered the rest of the quartet in a taxi, and they performed the Franck for Proust in his bedroom, when Proust then immediately asked to hear it all again. Franck’s Sonata for Violin and Piano in A major was a wedding present for Ysaÿe, and moves from a sunny opening Allegretto ben moderato into a highly turbulent Allegro molto second movement. Here the piano opens with rapidly virtuosic forward propulsion, played here with exemplary drive by Bulychev-Okser, and Davis responds with equal energy. In contrast, the Recitativo-Fantasia third movement has frequent sections for unaccompanied violin, full of sadness and nostalgia. Sunlight returns with the Finale, however, with its canonic lines ringing out. Here Davis and Bulychev-Okser achieve just the right balance to make their echoing lines sing equally, making this a strong performance of Franck’s evergreen masterpiece.
Claude Debussy’s (1862-1918) Violin Sonata in G minor, L140 dates from 1917, the year before he died, and was his last work, the third of an unfinished proposed cycle of sonatas for different instruments, the other two completed ones being for cello and piano (L135), and flute, viola and harp (L137). The Violin Sonata was premiered by Gaston Poulet and Debussy himself. Davis gives the opening Allegro vivo a particular sultriness here, and the central Intermède, with its frequent changes of pace, has a playful spirit. Bulychev-Okser opens the Finale with bright energy, and Davis immediately responds with Debussy’s virtuosic flourishes dashed off effortlessly. Again, there is a sultriness in the central louche waltz, before virtuosic energy from both drive to a blazing finish.
They end their disc with Ernest Chausson’s (1855-1899) rhapsodic Poème, Op. 25, full of sadness and longing, and written for Ysaÿe, who was involved at the composition stage, no doubt influencing its double-stopping passages and virtuosic display. Davis again demonstrates strong control of the virtuosic demands here, and she and Bulychev-Okser give a fine performance, bringing their programme to a more introspective, sombre conclusion. The pair bring out well the contrasts between these works here in highly expressive and passionate readings, making this release worthy of strong recommendation.
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