Roussel Sinfonietta for Strings, Op. 52

Sinfonietta for Strings, Op. 52

Albert Roussel (1869-1937)

Albert Roussel is a unique figure among 20^th century French composers. Born into a wealthy family, and despite showing early musical promise, Roussel decided upon a naval career, and spent five years as a commissioned officer in the French navy. However his musical interests asserted themselves, and at the age of 25 Roussel resigned his commission to devote himself to concentrated study. Settling in Paris, he came under the influence of the formidable Vincent D’Indy, under whom he studied at the Schola Cantorum---a course of study lasting a decade! He went on to become a professor at the Schola (where he numbered among his pupils Erik Satie, as well as a composer who later would become a powerful force in advanced 20^th century contemporary music, Edgard Varese.) His career as a composer grew steadily, moving from a early “impressionist” phase to a mature style of great individuality. A lone individual among his generation, he initially drew inspiration from the late 19^th century French tradition, the work of Debussy, and even from the romantic Russian masters. But it would be the work of Stravinsky and Prokofiev (who made their home in Paris after the First World War) which would have a lasting influence upon Roussel, resulting in music of an interesting toughness, sinewy texture, rhythmic bouyancy and bright primary colours.

The Sinfonietta for Strings, composed in 1934, is a splendid example of Roussel’s later style.

The work opens with a crisp, sharply articulated melody heard against a tramping rhythmic background, soon fading down to a more lyrical contrasting theme. The primary theme returns to round out the movement. The music is tonal, shot through with glints of dissonant harmonies, and generally preserving a resolute, unsentimental character.

The slow central movement opens with massive, sweeping chords, creating an atmosphere of grave intensity. The music seems to suggest a tapestry of string sonority, rich and introspective. Quite unexpectedly the third movement swings into action, for the first time laid out in a major tonality (D Major). The musical texture remains dense, lively, if a trifle muscular, springing forward and maintaining a restless momentum, coming to a blunt conclusion.

NCO Concert