The 9 CD Landowski set came in and I was keen to relisten some of what I had heard in decidedly lo-fi fashion on Youtube. The Symphony nr. 3 'Des Espaces' (1964) consists of two contrasting movements: an introductory Grave (10'21") followed by a propulsive Allegro deciso (6'10"). Landowski conceived it as a concerto for orchestra and it shows in the lush, pointillist orchestral fabric. The title of the work expresses the composer's ambition to 'evoke the great spaces of the work as well as, inwardly, those spaces imagined sometimes in our dreams'. I find this an attractive work that in its orchestral brilliance, shimmering dark harmonies and voluptuous chromaticism reminds me strongly of early Dutilleux.
Another captivating work is the earlier Concerto for Ondes Martenot, String Orchestra and Percussion (1954). Personally I have never taken to this weird instrument - which works by varying the frequency of oscillation in a vacuum tube. In Messiaen's work its contribution strikes me often as comical or even slightly vulgar. But in this concerto it has a beautifully suggestive part, singing out a kind of unearthly melancholy in tune with the overall mournful ambience of the piece. Sure, Landowski is not a great melodist, likely not even a particularly great musical architect, but much more of a colorist who knows how to coax a distinctive atmosphere from the orchestra. The accompaniment by the Orchestre de Chambre de Musique Contemporain led by Jacques Bondon lacks refinement but the solo part by Jeanne Loriod (younger sister of pianist and Messiaen's second wife Yvonne Loriod) is commendable. The recording date is unknown but must be from the mid-1960s as Bondon's OCMC was established in 1962 and only existed a couple of years under that name. Landowski's feeling for unorthodox instrumental colours is also the main attraction of his Four Pieces for Trumpet and Orchestra (1977). It's a substantial work of about 22' consisting of four parts, each of which carries vague references to religious or mystical regimens: 'jour du secret intérieur', 'jour de quête de soi', 'jour des regrets et des pardons', 'jour de joie'. These kinds of religious, literary or philosophical-humanist references seem to be quite abundant in Landowski's work, although they never assume the fervour with which they are flaunted by Messiaen. The four pieces are quite interesting to listen to. Again it's more the mood of mystery and introspection that captivates rather than anything else.
Landowski is stylistically often associated to his teacher Arthur Honegger but from what I hear this doesn't seem to make much sense. Honegger's musical language is more severe and often has a granitic quality that Landowski's work seems to lack. I may change my mind after I have heard some of the latter's dramatic works but I'd be really surprised. No, for me there is a line towards more wayward figures such as Charles Koechlin, who left a sprawling and unorthodox oeuvre. I have started to collect some of his work that has appeared on the Hänssler label as part of a long-term project to record a significant part of this largely forgotten music. Making the transition from Landowksi's work to Koechlin's symphonic study Vers la Voûte Etoilée, op. 129 (1923-33, rev. 1939) feels very natural. There's the nocturnal atmosphere, the impressionistic colour palette, the sweeping chromatic lines, the heartfelt humanism that blooms from a confrontation with the tantalising cosmic expanses. Whilst Koechlin's orchestral textures are fuller than Landowski's there seems to me an unmistakable kinship between these two composers. The recording by the SWR orchestra led by Heinz Holliger is fine but in terms of sound quality it's sadly enough thirteen-to-the-dozen. However, we are not in a position to complain as there are no alternative recordings in the catalogue.
I finished this evening's program with a piece by Dutilleux: Timbres, Espace, Mouvement (1978, rev. 1991), subtitled La Nuit Etoilée (as it was inspired by Van Gogh's delirious Starry Night). In it's original incarnation it's a two-mouvement suite ('Nébuleuse', 'Constellation') that constitutes an impressive demonstration of the composer's symphonic prowess. The piece has an epic sweep and a rethorical immediacy that enthralls. Clearly, here is someone that not only has a very fertile orchestral imagination but also the ability to marshal his material in a rigorous and convincing way. Remarkable is that the orchestra does not include violins and violas but this hardly registers given the prominent and lively role of winds and percussion in this concerto for orchestra. Again, there are obvious resonances with the sound world of his almost exact contemporary Landowski. Baudo's recording with the Lyon orchestra is an early one (the 1985 Harmonia Mundi recording is not very impressive) and lacks an interlude for solo cellos that Dutilleux included only in the early 90s. I have that on a disc with the Bamberg orchestra conducted by Marc Soustrot issued on the Koch-Schwann label.
All in all this is another rewarding branch of French 20th century music. I am quite happy to have discovered Landowski who seems to naturally fill in a gap in this complex landscape. Reading some of the Gramophone reviews that have appeared over the years, I notice that Arnold Whittall gives Landowski short shrift. To my mind this is unjustified as there is a lot that seems to warrant closer investigation and patient listening.
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