Debussy`s Saint Sebastien is continuously underrated

Debussy`s "Martyrdom of Saint Sebastien" was written late in his career and indeed late in his life. Debussy was born in 1862. "Saint Sebastien" dates from 1911, seven years before the composer`s death. Even so, he wrote a number of works after "Saint Sebastien" that proved his muse had not left him and that he could still display his genius. For example, in 1912 he wrote "Gigues, No. 1 of Images for Orchestra"; in 1912, "Book II of Preludes for Piano"; and in 1915, 1916 and 1917, the year before his death, he wrote, successively, "Cello Sonata in D Minor," "Sonata for Flute, Violin and Harp" and "Violin Sonata in G Minor."

All of these works have proved most popular over the years, all remain in the current repertoire, and all enjoy good representation in the catalog of recordings. Not so with "The Martyrdom of Saint Sebastien."

Why not? The work was composed as incidental music to be performed by orchestra and chorus for a stage work that had been written by Gabriele d`Annunzio (1863-1938), an Italian author who was better known for his sensational exploits in the Italian army, navy and as an aviator during World War I. After its premier in 1911, "Saint Sebastien" has only rarely been performed in its entirety. There are but two listings of the complete work in Schwann`s catalog of recordings Opus, one of them by Leonard Bernstein and the New York Philharmonic. Two additional recordings offer selections.

The work ran into difficulties at the very beginning of its existence. Certain elements of the work and the way they were presented proved offensive to authorities of the Catholic Church, and the play was banned. But that was then, and this is now, and the work still enjoys but little interest.

Too bad. It contains some beautiful music. I have always felt that it wants popularity because it sounds so different from what we are accustomed to hearing in the writings of the great French impressionist. It simply doesn`t sound like Debussy.

Was Debussy out of his element when he wrote "Saint Sebastien"? Or is it we who are demanding that he always repeat what he taught us, through so many glorious compositions, to love about his work? It is difficult to decide where the fault lies - if indeed there is a fault. The creator has the right - I believe the obligation - to listen to and obey his muse, no matter how that might change the style to which we have become accustomed.

By the same argument, we, of course, have the right to accept or to reject the change. I would plead here only for a listening to this excellent music as a work in itself and not a piece that we require to sound like others with which we are familiar and love. Perhaps we will learn that love may quite legitimately wear many faces.

The internationally praised conductor Gunter Wand has championed "Saint Sebastien" for the past 40 years, certainly one of the few conductors worldwide to do so. And we hear his appreciation for and understanding of Debussy`s work in this excellent reading, and excellent it is as he conducts his equally excellent German orchestra of which he was in earlier years conductor and today holds the title of honorary chief conductor.

The Debussy work was recorded during a live performance (Maestro Wand preferred this method of making recordings) in 1988. The other work on this disc, the Mussorgsky/Ravel "Pictures at an Exhibition," was recorded in 1999. And it is this latter recording with which I must take exception.

Criticizing - I mean strongly criticizing - a recording by Gunter Wand is an exercise I have not previously felt I must undertake. And I do so reluctantly and sorrowfully. But reluctant to do so or not, I must criticize the maestro`s reading of Mussorgsky`s "Pictures at an Exhibition."

The primary fault of the reading is that it sometimes is so slow it drags - drags the viewer on his promenade from one painting to the next. In addition, it lacks greatly the varying emotions we were meant to feel as we peruse each of the paintings. There are flashes of Wand`s brilliance throughout the recording - but only flashes.

And that`s about all I care to say about it.

OBOE OBSESSION - Romantic and Virtuosic Works for Oboe: Allan Vogel, oboe; Janice Tipton, flute; Bryan Pezzone, piano. Delos 3235.

To me the oboe is the aristocrat of the woodwinds. Its sound is noble, and I hear it as the prince among its fellow instruments.

Need I even say that this difficult-to-play, double-reed instrument requires a virtuoso performer of the highest order to do it full justice? Whether it needs saying or not, I`ve said it, and I quickly add that Allan Vogel is such a virtuoso.

Vogel has performed internationally with some of the greatest orchestras in the world. As we listen to him play, it is not difficult to understand why. His tone is strong and full. His pitch seems to be perfect. There is not a hint of a rasp in his playing. His technique is superb. It really remains only to state the program that has been selected for his recordings:

Camille Saint-Saens, "Sonata for Oboe and Piano"; Francis Poulenc, "Sonata for Oboe and Piano"; Benjamin Britten, "Six Metamorphoses after Ovid for Oboe Solo" (superbly performed); Robert Schumann, "Three Romances for Oboe and Piano"; W. F. Bach, "Duet for Flute and Oboe, No. 4 in F Major"; Makoto Shinobara, "Obsessions for Oboe and Piano."

A splendid recording in all ways including the excellent support Vogel receives from flutist Janice Tipton and pianist Bryan Pezzone.

(c) Copley News Service

Article continues below

---

advertisement

---

Author: King Durkee