It's not British, but...Piano Music by Déodat de Séverac on Naxos

One commentator gave a good rule of thumb for appreciating Séverac's music: it reflects the landscape, the folk music and people of his Languedoc homeland, and Catalonia and the Spanish Pyrenees, reflected through the prism of urbane Paris. By this he meant the Impressionist movement, and the composer’s contemporaries, such as Debussy and Ravel.

The recital opens with Baigneuses au soleil (Souvenir de Banyuls-sur-mer) which was completed in 1908. It was originally meant to be part of the Cerdaña Études, however was published as an “isolated piece.” It was dedicated to the French pianist Alfred Cortot. Baigneuses au soleil is said to conjure naked women lying in the sun and bathing in the Mediterranean. It is really a perfect study in impressionism, with warmth, water, waves, and sparkling reflections. The liner notes are correct in suggesting that despite certain obvious nods to Debussy, this is not an imitation of that composer, but a development of Séverac's own style of impressionism. This redolent work concludes with just a hint of twilight shadow.

Cerdaña, Cinq Étude pittoresques was written between 1908 and 1911. The title alludes to one of the historical counties of Catalonia. There are five pieces, which last in total for more than half an hour. The first, En Tartane: l’arrivée en Cerdagne conjures a two wheeled, mule drawn wagon as used in Catalonia arriving in the district. Sévérac has mimicked the “light trot” as well as a rattle snake in the score! Yet this activity is bookended by a cool evocation of the Pyrenees mountains. The second study, Les Fêtes (Souvenir de Puigcerda) opens quietly, but develops into a fandango, with several charming episodes celebrating the village fair. The score notes “A Delightful Encounter,” “Carabineros” (militia) and “Where one finds dear [Laura] Albeniz.” The entire number has huge contrasts and ends quietly as night approaches. The long titled Ménétriers et Glaneuses (Souvenir d'un pèlerinage à Font-Romeu) suggests a rustic band of ‘Fiddlers and Gleaners’ as well as Catalonian women on their knees in prayer. Wide variety is again a characteristic of Les Muletiers devant le Christ de Llivia. Here there is supressed power subtly juxtaposed with the drivers’ reaction to the “sorrowful image.” It is the heart of this suite. In Le retour des muletiers the proud riders are returning home, lively, now divorced from devotion, with just the occasional moment of reflection. It is a long, difficult to play, work, which requires skilled presentation to avoid losing the plot. Serena Valluzzi’s magical performance always holds the attention.

En Languedoc, Suite pour piano (1903-4) dates from Séverac’s student days at the Schola Cantorum in Paris. It is another long composition lasting over half an hour. Historically, the title Languedoc-Roussillon was given to the coastal region in southern France, extending from Provence to the Pyrenees Mountains and the border with Spain. It is now part of Occitanie. 

The opening piece, Vers le mas en fête (Towards the festive farmhouse) paints a picture of a journey home, passing a torrent, stopping at a fountain and eventual arrival at the house. Debussy is to the fore here, as an influence, but also Ravel. Sur l’etang, le soir (On the pond in the evening) is deliberately soporific. The liner notes suggest that the “crepuscular rustlings, the lazy sparkles” evoked, have an affinity with Chabrier. The rapid third number, A cheval dans la prairie (On horseback in the prairie) plays upon musical onomatopoeia, complete with the horse pawing the ground before departure and a “brisk gallop, rhythmic pace, [and] pause in the shade…” Yet, it can be heard as a satisfying ‘toccata’ without any programme. There is definite fascination in Coin de cimetière, au printemps, (A corner of the cemetery in spring) which fuses religious meditation with romantic love recalled, before falling into quiet resignation. It is an incredibly beautiful piece. The finale, Le jour de la foire, au mas (Fair day at the farmstead) is a picture of the country fair, with bells, dances and “the hesitant steps of drunks.” Amongst the merriment the Angelus is heard from afar... The entire work is performed here with distinction, love, and creativity.

Pianist Serena Valluzzi, born in Gioia del Colle, Italy, began her musical formation at the age of four. She graduated from the Conservatorio "N. Piccinni" in Bari at seventeen and continued her studies under several renowned pianists. Valluzzi has won numerous awards including the "A. Speranza" International Piano Competition, and the Alkan Prize for piano virtuosity. She has performed throughout the world including Brazil and the United States. Currently, Serena Valluzzi teaches principal piano at the U. Giordano Conservatory of Music in Foggia, Italy.

The liner notes, in English, are by Luca Ciammarughi. They are helpful and provide a good introduction to the composer and music. A short resume of the soloist is provided, as well as four photographs of the artist.  

The repertoire on this disc is a testament to Déodat de Séverac’s ability to present so many emotions musically, often tumbling over each other, from joy to sadness, but always tinged with reflection and optimism. This must be reflected in any performance. It is all played with technical brilliance, tremendous sympathy, and vivid imagination by Serena Valluzzi. 

Track Listing:
Déodat de Séverac (1872-1921)
Baigneuses au soleil (Souvenir de Banyuls-sur-mer) (1908)
Cerdaña, Cinq Études pittoresques (1908-11)
En Languedoc, Suite pour piano (1903-04)
Serena Valluzzi (piano)
rec. 13 April 2024, DiG Area Studios, Molfetta (BA), Italy
Piano Classics PCL10276 [75] 

With thanks to MusicWeb International where this review was first published.