Albéric Magnard, anyone? Even if you were familiar with any of his 22 published works (I have to confess I was not), would you choose one to headline a concert? Well, Jean-Efflam Bavouzet and the Orsino Ensemble did, deftly demonstrating that adventurous programming of lesser-known repertoire can still pack a punch with audiences.
Their all-French recital opened with a beautifully ethereal rendition of Debussy's Syrinx, perhaps the best-known piece here, performed off stage with warm-toned delicacy by Adam Walker (flute). Bavouzet and Matt Hunt (clarinet) waited attentively onstage to give us Debussy's Première Rhapsodie immediately afterwards. From the opening piano octaves, Bavouzet delivered a warmth of tone, matched by depth and richness from Hunt, with delicate articulation, even in the more virtuosic flourishes, as well as his subtly judged pianissimo echoes. Written as an examination piece, it intentionally encompasses a wide range of moods, and Hunt and Bavouzet relished this variety, especially the cheeky dance and dramatic race to the finish line.
Sancan's Sonatine for flute and piano will be familiar to flautists, as a staple of the repertoire, but few of his other works are commonly performed today, with Sancan mostly known as a pianist and teacher (Bavouzet was one of his pupils). The Sonatine was another exam piece, so it naturally tests virtuosity, with some use of extended techniques such as flutter-tonguing. But beyond this, it contains some beautifully lyrical melodic writing, with a delightful lilt throughout. Bavouzet clearly enjoyed Walker's prowess in the cadenza, as well as visibly getting into the rhythmic energy for the gallop that followed.
Poulenc's Trio for oboe, bassoon and piano perfectly encapsulates his multi-faceted style, from humour, wit and circus-style romp to deep emotion, dark harmonies and lyricism. Bavouzet's opening rang out like a bell, with Amy Harman (bassoon) responding in declamatory style. There are plenty of duets here for the two woodwind instruments, and Harman and Nicholas Daniel (oboe) gloriously blended, each responding to the other's dynamic leads. Again, Bavouzet was a lively presence, alert to the wind players' every moves, and clearly enjoying himself throughout.
Then came Magnard, his Quintet in D minor, bringing all the evening's performers together. The earliest work here, composed in 1894, it is no less striking in its style, and certainly didn't feel out of place alongside the later pieces. Across four movements, Magnard exploits to the full the sheer power of the four combined wind instruments, allowing for weight in the piano writing too, and the turbulent energy of the opening movement, as well as the frenetic climax of the finale, were exhilarating after the first half's lighter textures.
Yet there was contrast here too, with Bavouzet opening the second movement with a prayerful chorale-like passage, to which Hunt responded with dark, late-summer tenderness. Magnard writes frequent recitative-like passages for individual instruments, with Harman's example of this in the finale particularly enjoyable. In the third movement, Walker's playfulness was matched by raucous humour from Hunt, but Bavouzet and Daniel had the most fun here, with Bavouzet's rocking cross-rhythms fighting against Daniel's twisting, eastern-infused melodic line to Bavouzet's obvious delight, not being able to resist beating the rhythmic energy with his spare right hand in places. Clearly his favourite movement, we were treated to a repeat of this as an encore (Bavouzet also informing us that this constituted the Wigmore premiere of the work).
Five exceptional musicians, clearly enjoying every minute of their music-making as much as the audience.
