Carrie Koffman, Jackson Symphony Orchestra & Matthew Aubin - Fernande Decruck: Concertante Works (2022)

×

Carrie Koffman, Jackson Symphony Orchestra & Matthew Aubin - Fernande Decruck: Concertante Works (2022)

Close

French composer Fernande Breilh-Decruck showed signs of a promising career from an early age, when she won several prizes at the Conservatoire National Supérieur de Paris (harmony, fugue, piano). As an assistant professor of harmony, she trained many students, including one who became very famous and later dedicated her a score: “To Fernande Decruck, with all the gratitude and fond memories of the author – Olivier Messiaen”.

Sonata in C-sharp for alto saxophone (or viola) and orchestra (1943)

Carrie Koffman – saxophone

The Sonata in C-sharp for alto saxophone (or viola) is Decruck’s best-known work. Decruck created two versions of her world-famous sonata, one with saxophone or viola and piano, the other with full orchestral accompaniment. The latter version is rarely heard. Decruck combines the classical sonata form with impressionistic harmony and, at times, polytonality. Decruck dedicated this work to Marcel Mule, the world-renowned French saxophonist. Although Mule had countless compositions written for him in his lifetime, he took the time to record the Fileuse movement of the Sonata.

The first movement begins mysteriously in the orchestra before unfolding to a pastoral melody featuring the soloist and orchestra in dialogue. The second movement, Noël, references Noël Nouvelet (“Christmas Comes Anew”), a traditional French carol and is infused with melancholy. Fileuse (“spinning”) features the saxophonist performing virtuosic passage work and takes the traditional place of the Scherzo. The finale is structured in two parts. The Nocturne again has a mysterious feel while also evoking a funeral march before transitioning to the Rondel section, which brings the work to a heroic close.

Heroic Poem for solo trumpet in C, solo horn in F and orchestra (1946)

Amy McCabe – trumpet & Leelanee Sterrett – horn

Written in 1946, Poème Héroïque is a double concerto for solo trumpet, solo horn and orchestra. The work often features the two solo instruments in imitation and is a fantastic example of Decruck’s mature style. Divided into 3 contrasting movements, the piece sounds more American and Neo-Romantic than French. At times, it can sound mysterious and ethereal. Other sections have a driving, perpetual motion character. Decruck experiments using contrasting time signatures like 24/16 and 2/4. Whether the work was ever performed or who it was written for is unknown. Decruck moved to Marblehead, Massachusetts, the following year. In 1948, she created a reduction of the work for solo trumpet and piano. This version was written for Roger Voisin, the famous French principal trumpet of the Boston Symphony Orchestra.

Concerto for harp and orchestra (1944)

Chen-Yu Huang – Harp

The Concerto pour harpe et orchestre was dedicated to and premiered by French harpist and pedagogue Pierre Jamet in 1946. Jamet later became the harp professor at the Paris Conservatoire in 1948. Decruck’s Concerto shares similarities with Germaine Tailleferre’s Sonate pour harpe. It is a concertino in style, light-hearted, warm, and full of surprises. At the premiere performance by Concerts Colonne, the critic Henry Malherbe commented that the Concerto was “A work of lively and delicate feeling. A renowned harpist, Pierre Jamet, has carved out a great success.” Decruck must not have been fully satisfied, though. In her definitive score, she states that the original fourth movement, a fughetta, should be suppressed. The present recording respects her wishes.

French composer Fernande Breilh-Decruck showed signs of a promising career from an early age, when she won several prizes at the Conservatoire National Supérieur de Paris (harmony, fugue, piano). As an assistant professor of harmony, she trained many students, including one who became very famous and later dedicated her a score: “To Fernande Decruck, with all the gratitude and fond memories of the author – Olivier Messiaen”.

From 1926, the year of his appointment as organ teacher, Marcel Dupré introduced her to improvisation. This talent earned her an organ concert tour in the United States at the end of 1928. She later gave solo recitals in New York City’s grand auditoriums. Decruck’s trajectory as a composer can be traced through her early works, which give prominence to the organ (her instrument), saxophone and double bass (her husband’s instruments). The Decrucks lived in New York City for several years. Her husband Maurice played double bass and saxophone in the New York Philharmonic under Arturo Toscanini.

Decruck’s American period saw the birth of numerous compositions for piano, organ, orchestra, a concerto for cello and orchestra, and many works for a wide range of wind instruments, notably for saxophone.

In 1937, Fernande Decruck moved to Toulouse alone with her three children. She worked as a professor at the Toulouse Conservatory. From 1942 onwards, she devoted herself entirely to composition, notably writing a harp concerto, Poème héroïque, and the Sonata in C-sharp for saxophone. She officially divorced Maurice in 1950, which led to financial difficulties. She ended her career as a professor of harmony at the Fontainebleau Conservatory. A series of health problems led to her untimely death at the age of 57.