Acclaim
Paul Marleyn; Stéphane Lemelin – Tenderness and Tragedy
“It is an album of very beautiful discoveries (and a proven masterpiece) that cellist Paul Marleyn and pianist Stéphane Lemelin offer us here. There is indeed the Sonata for Cello and Piano No. 2 in G minor, Op. 117 by Gabriel Fauré (a commission from the French Republic to mark the centenary of Napoleon’s death) on the program, but it is especially the Grand Dramatic Sonata for Cello and Piano “Titus and Berenice” by Rita Strohl (1865-1941) that captures attention.
This work of vast dimensions was written in 1892. Strohl is a creator that we have been rediscovering at a rapid pace for the past few years. Rightly so, because her talent was well-developed and refined. This Grand Sonata was for a long time the work that kept Rita Strohl’s reputation somewhat on the fringes of music history. Now that her music is being played more and more, the richness of the original construction of this score is appreciated with even greater acuity.
Indeed, the Grand Sonata is based on a dual architecture: one formal and the other narrative. Strohl, somewhat like Liszt in his Dante Sonata, harnesses the traditional sonata form to also make it a dramatic programmatic vehicle. Here, it is Racine’s tragedy Bérénice that serves as her expressive inspiration. In Racine’s play, we are told the adventures of the Roman Emperor Titus, who fell in love with a Jewish princess (Berenice), at a time when the Hebrews were driven out of Israel/Palestine for the next almost two thousand years. An impossible love, because the Romans could not stand that their emperor was involved with a foreigner. Movie material, or rather stuff for artistic tragedy!
On this basis, Strohl constructed a powerfully expressive score of about 35 minutes in four movements, each an episode that summarises the passions conveyed by Racine’s text and the dramatised tale of this love worthy of Romeo and Juliet.
The first movement evokes the ambiguity of the passion felt by Titus and Berenice and the heartache associated with the state reason that denies them any lasting fulfilment of their union. Strohl accompanies their mutual outpourings with a poignant cello melody, which evolves throughout the movement, the longest in the work at around 13 minutes. The piano supports the dramatic soul-searching of its companion with comments that are sometimes contrasting, sometimes compassionate, through rich writing.
The second movement, titled Berenice’s Apartments, is a scherzo that hints at the tensions between the characters. The cello serves as the voice of the protagonists, shifting from softness to muscular phrasing, while the piano unfolds sophisticated orchestral colours. That said, the atmosphere that emerges is neither dark nor stormy. A pleasant, luminous lightness emanates from it.
The third movement, Lento tristamente (Bérénice knows everything), serves as the emotional climax. It is a powerful lament, made of expressive intensity and final resignation. The cello is brought to its peak of dramatic force.
The final movement (The terrible moment approaches) allows Strohl to construct a lively and athletic conclusion, one of separation, bathed in sometimes tense colours, but which ends in a finale where the composer wanted to showcase her expressive abilities with a curtain fall that one can imagine being followed by a well-deserved round of applause.
Paul Marleyn and Stéphane Lemelin deliver an incandescent performance, with a very high level of technical and especially emotional conviction. The melodies of Rita Strohl imprint themselves in our minds thanks to the powerful and authentic playing of the two musicians.
Two pieces by Fernand de la Tombelle (1854-1928) follow, bringing a welcome contrast of intensity. Less fiery passion here, and more elegance and colour. The Andante espressivo indeed offers a melody full of tenderness, which seems to hover above the piano arpeggios.
The Variations in the form of a chaconne, by the same composer, are a successful exercise in playing with a form that crosses between variations and the chaconne. The exercise has been a pillar of the art of composition since the Baroque period. It is here articulated around some basic material that Tombelle manipulates intelligently in its multiple forms, during a relatively short construction for this type of piece, but nonetheless optimised in its expressiveness. There are moments of pure delight in this music, a true hidden treasure. Moreover, this is apparently the very first time this piece has been recorded, and we are greatly indebted to Messrs. Marleyn and Lemelin for it.
Fauré’s Cello Sonata No. 2 in G minor, Op. 117, a masterpiece of late Romanticism, is a construction of exceptional concentration and ideal synthesis. Fauré’s melodies, themes, and phrases (the ideas) have indeed evolved, and in this final creative period, they seem to reinvent themselves while defying the clichés of the traditional structure of a romantic sonata. The ideas are born from one another, intertwine, and combine with renewed originality, bringing us to the threshold of a modernity that will express itself with more harmonic dissonance, but not necessarily with more architectural vision.
Marleyn and Lemelin dive into it headfirst, full steam ahead, delivering a confident performance, also marked by very beautiful passages of exquisite subtlety. A complicity between the two artists that somewhat reminds me of that of Steven Isserlis and Jeremy Denk, in one of the very beautiful versions of this music.
An album that dares to shed a favourable light on lesser-known works, while offering an elevated vision of a proven masterpiece.”
Frédéric Cardin, Pan M 360
“The pair’s performance (of Arvo Part’s Spiegel im Spiegel) did not disappoint, ushering listeners into its mesmerizing, highly introspective sound world in which (Paul) Marleyn’s lyrical cello theme was underpinned by (Madeline) Hildebrand’s simple piano chords, pierced by bell-like tones exemplifying the composer’s trademark “tintinnabuli” style. Another highlight was Epilogue LB by Valentyn Sylvestrov… It also showcased the innately elegant playing of Marleyn, who drew his bow across his strings with utmost sensitivity, as Hildebrand met him note for every stirring note, as she also did in Armenian composer’s Gayane Chebotaryan’s Prelude no. 3, exemplifying the adage “less is more.”
The afternoon also included fireworks, with David Popper’s passionate showstopper Hungarian Rhapsody, including brilliant passagework by both Marleyn and Hildebrand, as well as Rodion Shchedrin’s In the Style of Albeniz, propelled by fiery Spanish flamenco-style rhythms performed by both artists with sharp attack.
Last but not least, Prokofiev’s Sonata featured Marleyn’s cello beginning in its most lugubrious depths, while Janacek’s Pohadka, a programmatic, fantastical piece, saw the pair weaving their individual musical lines together as though in thoughtful dialogue.”
Holly Harris, Winnipeg Free Press, October 23rd, 2023
Hidden treasures of the French Cello
“Cellist Paul Marleyn and pianist Stéphane Lemelin continue their peregrinations within the French Romantic repertoire with a new opus on ATMA Classique. The two Canadians have already earned their spurs in the discovery and promotion of French musical heritage, notably as former members of the Trio Hochelaga. On the menu: three interesting rarities.”
La Presse, Canada
“Dans un doublé royal qui réunit le brillant pianiste Stéphane Lemelin et le violoncelliste Paul Marleyn, nous redécouvrons la Sonate pour piano et violoncelle du compositeur français Édouard Lalo. Privilégiant la beauté, le violoncelliste offre un jeu fluide et particulièrement sobre qui conviendra parfaitement à une soirée au coin du feu. Nous pourrions en dire autant des œuvres de Paul Lacombe et Fernand de la Tombelle, qui s’inspirent beaucoup du travail d’Édouard Lalo.”
Ludwig van Montreal, Christophe Rodriguez
“Marleyn and Lemelin are both internationally renowned musicians, recognized for their musicality, their technical agility and their interpretive skills. They clearly bring out the particularities and dynamics of these works, in a rendering that gives them substance and highlights their uniqueness.”
Pan 360
“Paul Marleyn…..gave a heart-warming account of Tchaikovsky’s Rococo Variations with the Royal Liverpool Philharmonic Orchestra) displaying a well-nigh unassailable technique…. his smooth, rich tone had not the faintest trace of a rough edge.”
Neil Turney, Daily Telegraph, London
“Paul Marleyn’s playing is emotionally intense, physically big-boned, and never dull. In the Prokofieff (Sonata), the cello takes deep-throated precedense…..the Sonata was well paced and strongly shaped.”
Gramophone Magasine
“A superb programme, with players over-flowing with health, the joy of playing, and flamboyant brilliance. All come together for a memorable disc…. the caressed phrasing, the glittering colours, the very beautiful mezza-voce of the cello, the tone of a lyrical and seductive heroism.”
Pascal Brissaud, Repertoire, France
“Marleyn played (the Schumann Concerto) with poise, finesse and the strength of an old hand……he negotiated all three movements with deftness, good projection and superb melodic shaping. This was a performance of genuine distinction.”
The Times Herald, New York
“….phrasing and delivery that were a model of poise and sensitivity. His tone control was excellent, bringing a culminative inward intensity to the music.”
The London Guardian
“Paul Marleyn is a sensitive player of considerable insight and intelligence, with an impeccable technique and apparent infallability of intonation.”
Liverpool Daily Post, England
“Paul Marleyn’s truly great performance of the Schostakovitch Sonata was a psychologically riveting interpretation, as close as could be to the pulse of the music and of such calibre to deserve putting on record………..His tone had a deep and poignant lyricism that was spell-binding: his technique was so secure that the listener did not become aware of it……. a magnificent performance.”
The Tech, Cambridge, MA, USA
“Marleyn met its (The Schostakovitch Concerto no. 1) daunting demands superbly: the virtuoso Cadenza movement and the hell-for-leather finale were particularly commanding.”
Daily Telegraph, London
“To disciplined playing, he brought a large, lush tone…….an impressive performance.”
The Boston Globe
“The program opened with Beethoven’s Sonata no.2 in G minor. From the very first entry, one’s appreciation for the considerable talent of ‘cellist Paul Marleyn grew. Marleyn’s impressive credentials foretold an artist of the highest order. This Beethoven confirmed it. Marleyn’s account was noble, spacious and beautifully gauged.”
James Manishen, Winnipeg Free Press, Canada
“Paul Marleyn, fresh from his triumphant appearance in Saturday’s moving performance of John Taverner’s Svyati, soared in from high in the bleachers with Sarah Hopkins’ solo cello opus titled Reclaiming the Spirit……A recurrent snatch of romantic melody was delicately thrown in, while Marleyn exorcised the spirit of the didgeridoo from his cello…… The return of Marleyn with pianist Heather Schmidt for James Macmillan’s Kiss on Wood was a pleasing addition …..Marleyn and Schmidt turned in a superbly musical and captivating performance. Marleyn’s plaintive high notes melted into the distance with Schmidt’s dying chords to great effect.”
Centara New Music Festival, Winnipeg Free Press, Canada
“Swirl, for solo cello, highlights this program of chamber music by composer Hiscott. The music is more than merely pictorial, as it covers a rich vein of moods and is beautifully explored in Paul Marleyn’s performance.”
James Manishen, Winnipeg Free Press, on Blue Ocean, released by CBC Records
“Inventive programming, passionate playing, compelling listening”
Jessica Duchan, Classic FM Magazine, on From Jewish Life, released by Signum 2
“Cellist Paul Marleyn’s sensitivity and sound technique create a strong impression…..”
Richard Todd, Ottawa Citizen, on Blue Ocean, released by CBC Records
“…committed and expressive performances. Throughout this CD Marleyn shows his true colors as a fine cellist with both an astute command of style and formidable teachnique. His artistry deserves much wider disemination.”
Joanne Talbot, Strad Magazine, on From Jewish Life, released by Signum 2
“The programme opens with Max Bruch’s Kol Nidrei…which Marleyn takes up with passionate soliloquy…..(in Bloch’s Nigun) Marleyn’s cello sings the frevent melodic line with deep lyrical feeling……Throughout the playing of both artists is totally idiomatic….a most rewarding concert.”
Ivan March, Gramophone, on From Jewish Life, released by Signum 2
“Marleyn presents strongly characterised and highly expressive performances of all the works….an excellent recording, this release deserves an enthusiastic recommendation.”
Erik Levi, BBC Music Magazine, on From Jewish Life, released by Signum 2.