Joseph-Guy Ropartz (1864-1955)
           Chamber Works

String Quartet No. 3 in G major (1925) [27:03]
String Quartet No. 2 in D minor (1911-1912) [31:14]
Stanislas Quartet
Recorded July 2004
Released May 2006
Timpani 1C1099 [Vol. 1 - 58:28]

The Breton born Joseph-Guy Ropartz was an excellent French composer and
conductor whose music virtually disappeared well before his death.  One
explanation was his close musical allegiance to Cesar Franck resulting
in the common view that Ropartz was a Franckian throwback.  The other
reason was that Ropartz's competition just happened to be Maurice Ravel
and Claude Debussy.

I won't try to argue that Ropartz's music stands tall next to Ravel
or Debussy; it does not.  However, judging from a few Ropartz discs
including the one now being reviewed, his music has much to offer with
very attractive melodies and highly evocative sea and landscapes cloaked
in a late-romantic language of impressionist leanings, contrapuntal
vigor, sweet tonal passages and mild doses of dissonance.  Some serious
angst does emerge from time to time, but Ropartz is generally optimistic
in musical character.

In terms of production, Ropartz was a busy boy as composer, academic
administrator and conductor.  His musical output includes five symphonies,
6 string quartets, 3 violin sonatas, two cello sonatas, piano trio,
string trio, solo piano and ogan works, ballets, numerous choral works,
several operas and over 100 songs.  From 1894 to 1919, Ropartz was the
Director of the Nancy Conservatoire and then spent the next ten years
as the conductor of the Strasbourg Orchestra.

The Timpani disc being reviewed is Volume 1 of a three volume cycle of
the Ropartz String Quartets.  The second volume, released just a few
weeks ago, contains Quartets 4, 5 and 6.  As it happens, the Stanislas
Quartet recorded Quartet No.  4 for Timpani back in 1996; the disc was
released with the Ropartz Piano Trio in A minor, and it will be interesting
to see if the group has altered its view of the work in the past few
years.

Let's get to the matter of the Quartets Nos.  2 and 3.  The D minor
Quartet is based on a four-note cell that is shared by each instrument
and subjected to modifications.  In the 1st Movement, the cell never
seems to have any particular destination, preferring to participate in
a mix of raw expression and repose.  There's no question of destination
in the 2nd Movement Scherzo as the four-note cell now takes on the role
of a bass ostinato that has determination and drive written all over it;
this fast and severe music is excellently contrasted by the sweet middle
section.

Although quite enjoyable, the first two movements of the D minor Quartet
must yield to the gorgeous 3rd Movement Adagio with its sinuous lines
particularly memorable.  Also, unlike in the first two movements, musical
phrases now combine the sweet with the bitter, giving the music a greater
breadth and richness of expression.  The 4th Movement finds our four-note
cell put to optimistic use, while the mysterious middle section is
stunning in its beauty.

Before addressing the G major Quartet, I have to tell you how impressed
I am at the conclusions of each of the eight movements on the disc.  They
are concise, meaningful, and every note has purpose.  When I think of
Ropartz, I think of outstanding conclusions.

Written thirteen years after the D minor Quartet, the G major finds
Ropartz leaving Franckian territory and instead concentrating on more
adventurous harmonies.  However, the basic Ropartz foundation of sweetness
vs.  dissonance continues from the earlier D minor Quartet.  Particuarly
compelling are the 2nd Movement Scherzo "Assez vif" and the 3rd Movement
marked "Tres lent".  The Scherzo has tremendous energy and drive with
dotted rhythms adding to the effect, while the composer gives us a
gorgeous trio section having an hypnotic ostinato.  The slow 3rd Movement
is perhaps the most beautiful music Ropartz ever penned; although he
doesn't make time stand still, he does insure it oscillates in seductive
patterns.

Such fine music deserves the best in terms of engineering and performance.
The acoustics are superb in detail, depth and clarity.  The performances
are also top-rate except for one consideration - the Stanislas Quartet
could have been more forceful and desperate in Ropartz's strongest
passages such as the Scherzo of the G major Quartet; this is music with
a huge "wow" factor, but the Stanislas only scratch its surface.

Don's Conclusions: Strongly recommended for those who run the unbeaten
path or love early 20th Century chamber music.  Although I have noted
a disappointment with one aspect of the performances, it should also be
stated that the Stanislas Quartet delivers the full lyricism and beauty
of the scores.  My hat's off to Timpani for giving us this repertoire,
and I'll soon be off again to the Ropartz soundworld with Volume 2.

Don Satz
[log in to unmask]