Album insights
Arthur Honegger, a composer from Switzerland with roots in Le Havre, had a strong desire to craft music that was both accessible to a broad audience and also intellectually stimulating for music enthusiasts. In his monograph "Je suis compositeur" from 1951, he expressed this aspiration. His exceptional creativity and innovative ideas were showcased in his extensive body of work, as exemplified on a CD.
Honegger, born in Le Havre and with Swiss nationality, started his studies at the Zurich Conservatory but eventually continued in Paris. Living much of his life in Montmartre, he became associated with the development of French music during the interwar years. He was part of a group of young composers around the enigmatic Erik Satie, known as "Les Six," alongside Milhaud, Poulenc, Auric, Tailleferre, and Durey, who were at the forefront of musical innovation in 1920s Paris.
Although "Les Six" initially focused on light, satirical entertainment music and a Franco-American jazz style, notable figures within the group, like Honegger, ventured into more profound works. Honegger's works, such as the "mimed symphony" Horace victorieux and the oratorio King David, demonstrated his ability to create serious and significant compositions. He ventured into various art forms like stage productions, radio compositions, and film scores, contributing significantly to the artistic world.
Much of Honegger's work has been overshadowed since his death in 1955, but pieces like the symphonic movements Pacific 231 and Rugby revealed a depth behind their initial effects. Honegger found lasting success in symphonies, oratorios, and chamber music, with works like Horace victorieux marking the early stages of his talent in composing large-scale orchestral works. This piece, inspired by a Roman legend, transitions from a ballet concept to a symphonic masterwork.
Honegger's Cello Concerto, written for Maurice Maréchal, displayed a blend of lyrical melodies and urban sophistication with elements of jazz, contrasting with the dramatic and dissonant soundscapes of his other works. This concerto, rich in musical layers, captures both contemplative and lively moods, showcasing Honegger's versatility and skill in orchestration.
One of Honegger's final works, the Christmas cantata Une Cantate de Noël, composed for the Basel Chamber Choir in 1952-53, was based on liturgical texts and traditional carols in French and German, symbolizing unity between nations. Through intricate instrumentation involving solo baritone, mixed choir, children's choir, and orchestra, Honegger painted a musical narrative of the Nativity, merging various languages and cultures in a celebration of peace and joy.
Calum MacDonald © 2008