Ensemble Corrélatif - L'essence des vents (2025)

This CD is the debut CD of the woodwind ensemble Corrélatif, founded in 2011, consisting of the musicians Christian Strube (flute), Marion Klotz (oboe), Matthias Beltz (clarinet) and Anne Weber-Krüger (bassoon). Just one year after its foundation, this ensemble took part in the 3rd Concorso Musicale Internazionale "Città di Ostuni" and immediately won first prize with distinction. Both the interesting selection of works and composers on this CD, as well as the above-average to exceptional quality of the interpretation, confirm that it was more than deserved!

Chamber music works for pure woodwind ensembles are a niche that has never really become the focus of public attention here in Germany. The audience here prefers string ensembles, which have a softer, smoother and more variable sound. The clear objectivity and expressiveness of the wind instruments needs to be softened by a cushion of strings.

The Ensemble Corrélatif shows that there is another way, and in doing so brings to light true treasures of compositions and composers that are almost completely unknown in this country. Who has heard of Marcel Bitsch (1921-2011) or André Caplet (1878-1925), for example? However, more well-known composers such as W.A. Mozart (1756-1791) and Leoš Janáček (1854-1928) are also represented, both with arrangements of original works.

Mozart's Fantasy in F minor KV 594 was originally intended for mechanical organ, but only became known to a wider audience in its version for piano four hands. The present version for woodwind quartet, arranged by Milan Munclinger, is more recent, but reveals how excellent Mozart's works sound in this instrumentation, even if they were not originally intended for this purpose. Janáček's 3 Moravian Dances were also originally written for piano and are also convincing in woodwind guise.

A transcription of piano works for woodwind quartet also concludes the CD, the Easy Dances by Mátyás Seiber (1905-1960), who some may remember as the (posthumous) dedicatee of Ligeti's orchestral work Atmosphéres. The easy-to-listen-to, but never trivial, pieces form an excellent, cheerful, upbeat ending.

The Trois piéces pour une musique de nuit by Eugéne Bozza (1905-1991), the Divertissement by Marcel Bitsch (1921-2011) and the Aubade by Dinu Lipatti (1917-1950) were originally written for woodwind quartet. Of this group of works, the Aubade may be the biggest surprise, as Lipatti is now mainly known as a legendary pianist who died tragically early. This recording shows that his compositional skills are not inferior to his piano skills, although they were not as mature as the latter.

Lipatti shares the other composers in this group's inclination towards neoclassicism, which is also the style best suited to the woodwind sound. This also explains the orientation towards French music, as this style was also more popular there. Despite the composers' very different dates of birth, the three groups of works were written within a short period of time between 1947 and 1956. This may explain the similarity in their style, which nevertheless allows each work a very individual tonal, compositional and harmonic coloring. It is well worth paying a few visits to this little-visited corner!

The Quintette pour piano, flûte, hautbois, clarinette, basson by André Caplet (1878-1925), on the other hand, sets a distinct tonal and stylistic counterpoint. In terms of sound, through the inclusion of the piano, stylistically through the interesting mixture of post-Wagnerian chromaticism and Debussy-like sonority. It is also formally the most important work on this CD, darker and more dramatic in its expression.

Oleg Poliansky accompanies the woodwind quartet as a full partner, only the sound balance in the quiet passages is to the disadvantage of the piano, which sounds a little more distant (and quieter) and is therefore slightly covered up. This is less noticeable in loud passages, and otherwise the interplay is of rare harmony, both rhythmically and in terms of interpretation.

This is a positive feature in all pieces, namely that the interpretation does not appear to be clouded by democratic compromises, but is clearly and distinctively supported by all members of the ensemble with passion and full commitment. This also explains the rhythmic precision, which is almost flawless in the vast majority of pieces.

Overall, a highly recommended purchase, especially for connoisseurs and lovers of woodwinds and woodwind literature, as well as friends of lesser-known but nevertheless high-quality music literature away from the big, well-known streams.