Zoltán Kodály (1882-1967)
Sonate pour violoncelle seul en si mineur, op. 8
Sonate pour violoncelle et piano, op. 4

István Várdai, violoncelle
Klára Würtz, piano

La vaste Sonate pour violoncelle seul que Zoltan Kodaly écrivit pour Jenö Kerpely au cœur de la Grande Guerre aura trouvé son héros avec Janos Starker. Hongrois comme Kodaly, proche du compositeur au Conservatoire de Budapest, il savait comme aucun autre (sinon Pierre Fournier dont l’approche était aux antipodes, lui qui y voyait d’abord l’ombre de Bach) en faire sonner les musiques populaires. Istvan Vardai est absolument dans sa filiation, virtuose comme lui dans l’expression d’un certain folklore plus imaginaire qu’en aucune autre œuvre du compositeur d’Harry Janos, mais virtuose d’abord par la parfaite réalisation de tout ce que Kodaly sollicite du violoncelle qui ne soit pas de son emploi naturel : il veut que l’instrument évoque le cymbalum ou les orchestres itinérants des Verbunkos, mais aussi les musiques des tziganes qui hantent la puszta, cette steppe des plaines hongroises, il sait en tirer des effets de percussion que les compositeurs du XXe siècle pilleront sans vergogne. Mais il y a plus dans le jeu d’Istvan Vardaï, violoncelliste majeur de la jeune génération : la souplesse agogique, un archet fluide au possible qui laisse apercevoir les grandes structures d’une œuvre où fatalement le souvenir des Suites de Bach doit paraître, mais avec une certaine discrétion. Le disque y ajoute tout ce que Kodaly aura composé pour le violoncelle, Klara Würtz y mettant son piano narratif, si plein de timbres, idéale pour la très jolie Sonate op. 4 si pleine de fantaisie, assez Debussyste. Qui la jouait avec autant de finesse, en étant si bien pris dans les timbres du piano ? Miklos Perenyi, avec Zoltan Kocsis. C’est dire ! (Discophilia - Artalinna.com). (Jean-Charles Hoffelé)

Bartok’s assessment of Zoltán Kodály’s music as “the most perfect embodiment of the Hungarian spirit” will strike a chord with those familiar with the suite from his opera Háry János, the Dances of Galanta or indeed the works for cello which moved the instrument on from the Romantic idiom of Brahms, and at the same time looked backwards to the dancing elegance of Bach’s solo Suites. He had taught himself to play the cello to a reasonable standard (also the violin and viola) and while, as he freely admitted, not a natural virtuoso, he had a feeling for the instrument which is obvious in his writing. The Adagio was his first published work, dating from 1905 and originally written for violin and piano: still broadly Romantic in idiom, and unaffected as yet by his work in collecting folk songs from the countries of south-eastern Europe which would decisively influence his mature idiom. The ruminative Op.4 Sonata for cello and piano (1910) is informed by the composer’s study of Debussy, and is perhaps overshadowed by the out-and-out classic which the Solo Sonata (1915) became once cellists such as Janos Starker had mastered its formidable technical challenges. Dating from the same year, the brief Capriccio is based on an ebullient Hungarian folk melody and also employs scordatura, where the strings of the cello are retuned to explore harmonies outside the conventional diatonic structures of Western-European music. The cimbalom-like flourishes which open the Sonatina (1921-2), Kodály’s last work for the cello, further develop this fusion of cultures. In István Várdai and Klára Würtz, Kodály has modern-day, native advocates who are fully conversant in and comfortable with his speech-inflected language. This is Várdai’s third album for Brilliant Classics, following the Solo Suites of Bach (BC95392) and a recording of the original version of Tchaikovsky’s Rococo Variations that won a glowing recommendation from Gramophone: ‘excitingly assured and agreeably spontaneous music-making… a superb performance triumphantly vindicates Tchaikovsky’s first thoughts… Várdai’s outstandingly fine contribution marries a gratifyingly sumptuous and varied tonal palette to a flawless technical address – that we shall be hearing a lot more from him I have not the slightest doubt.’