Poldowski re-imagined is the name of the latest CD from the French Ensemble 1904. Poldowski who? Well, like many of her colleagues, this Polish-British composer (1879-1932) is all but forgotten. Her name, too, is problematic. Born the youngest daughter of violinist and composer Henryk Wieniawski, her official name was Irène Régine Wieniawski. However, she published her first compositions as Irène Wieniawska. After her marriage to Briton Sir Aubrey Dean Paul in 1901, she called herself Lady Dean Paul. Several variants followed this, until she finally chose the short but powerful Poldowski.
Although she inherited her father's talent, Poldowski never knew him: Henryk Wieniawski died while touring Russia when she was 10 months old. She was left with her British mother in Brussels, where he had been a teacher at the conservatory. Some say she would have studied piano and composition there herself, but archive material on this is lacking.
Reinterpretation
Poldowski began composing at an early age and published her first mélodies (songs) in 1890, with a Belgian publisher. Some six years later, she moved to London, where she soon created a furore as a pianist and composer. Although she married an Englishman and assumed British nationality, she continued to use French lyrics in her songs. In doing so, she had a great fondness for the poetry of Paul Verlaine, also very popular with fellow composers at the time.
The French Ensemble 1904 presents all its 22 Verlaine settings on its new CD. Not in their original versions but in arrangements for piano, violin and double bass. The arrangements created by pianist and artistic director David Jackson are, in his own words, a tribute to Poldowski. She herself often made versions for chamber ensemble of her songs, but they were all lost. Jackson drew inspiration from her Sonata for violin and piano, but also gave free rein to his own imagination. Hence the 're-imagined' from the title.
Impressionistic splash fountains
What immediately stands out is Poldowski's flair for text setting. The parlando style of singing - with only one note per syllable - makes the verses easily understood. Her music sounds distinctly French and sometimes recalls the mélodies of Debussy and Ravel. Thus, the recitation is almost casual, while subtle turns still make the emotions palpable. Occasionally, as in Impression fausse we hear agonised exclamations that betray her partly Slavic origins.
The atmosphere is predominantly wistful, though sometimes inflammatory. For example, in the snarky Cortège about a circus lady whose slave peeks under her skirts. That Poldowski himself was an outstanding pianist is clear from the varied and colourful piano part. Sometimes she weaves impressionistically gurgling waterfalls through the vocal part, at other times she supports the argument with hammered chords. The violin and double bass lines added by Jackson fit in seamlessly.
Loving portrait
Incidentally, it takes a while to be gripped by the undeniable charm of her music. Jazmin Black-Grollemund has a warm soprano voice, but her big vibrato is at odds with the subdued expression so characteristic of French mélodie.
The strings are not always flawless and the dynamics are initially a bit uncontrolled. Pakweg from the lively Colombine (track 13) everything comes more into balance. The performers sound more sovereign and confident, as if they have presented the remaining songs in a concert setting many times before.
But these are just a few comments on a loving portrait. Ensemble 1904 breaks a convincing lance for Poldowski, even if you begrudge them a little more concert experience. The excellent CD booklet also contains a lot of useful information. May this release be the prelude to a rediscovery of Poldowski, her music deserves it.
Ensemble 1904: Poldowski re-imagined 22 mélodies sur les poèmes de Paul Verlaine; Irène Régine Wieniawska; arr. David Jackson Resonus RES10196 € 14,99
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