Reynaldo - Naxos Music Library

performance of these compositions took place at Madelaine Lemaire’s on May 28, 1895, and
accompanied a reading of Proust’s verses. The composer ably rendered the charms of each
painting: the Dutch painting by Cuyp which shows misty horizon contrasted by the solid
ground is rendered through rhythm, «a bit stiff and heavy like the croup of Flemish horses»;
under Potter’s «uniformly grey skies» like the gloomy and melancholic ruminating of the
Batavian cows; the elegance and translucent sophistication emanating from Van Dyke’s
portraits; the iridescence and grace of Watteau’s flirtatious Fêtes. In addition to Daudet and
Proust another figure from Reynaldo Hahn’s intimate circle emerges: Sarah Bernhardt, La
Grande Sarah 2 ! For her he wrote a number of musical theatrical works, two of which are
presented in this recording: the transcriptions for piano of the Pavane d’Angelo (CD 3 - tr.
33), intended for Victor Hugo’s drama, and the arrangement of the short fragment Avant
l’hommage des poètes (CD 3 - tr. 32) especially composed for the party given in honor of
the actress’s nomination to the order of the Legion d’honneur.
Even though absolute music was not his favorite form, Reynaldo Hahn composed several
works for piano that fall into this category. The Thème varié sur le nom de Haydn (CD
4 - tr. 19) was presented in a «Hommage a Haydn» together with works by Debussy, Dukas,
D’Indy, Ravel and Widor. Full of witty eloquence, Reynaldo Hahn’s contribution was in the
spirit of pastiche, which he particularly liked. Without a literary or sentimental source of
inspiration, the Sonatine (CD 4 - tr. 16 to 18), of 1907, blooms into the ethereal with a very
Neo-Rococo vitality that slips from time to time into a thoroughly appropriate modernity. The
opening Allegro Moderato seduces with its frank intellect and clear harmony tinged with
modality - and with its note of sobriety which is the point of departure for the second
movement: Andantino Rubato with variations on the theme from the voluble stream of the
melodic line and blossoming into flowery ornamentation which recalls the art of the French
harpsichordists. Under the aegis of Rameau, the Tambourin brilliantly closes this piece with
mischievous somersaults.
The last work in the boxed set (CD 4 - tr. 21) is a revelation in more ways than one. It is the
«musical preface» intended to adorn La Création du Monde revue et corrigée selon l’esprit