Mel Bonis: Complete Music for Solo Piano, Volume One
Mélanie Bonis (1858–1937), a fine pianist herself, composed some 150 works for solo piano, publishing them with her first name shortened to ‘Mel’ to disguise the fact that she was a woman – while she lived among the French haute bourgeoisie as Mme Domange. They sometimes show the influence of Chabrier, and have points of contact with the music of Chausson, Debussy and Pierné, who had been fellow students at the Paris Conservatoire. But they also reveal an individual approach to rhythm, harmony and tone-colour – and it’s clear that her conventional exterior hid a lively sense of fun, her many miniatures for children perhaps influenced by her own experience as a mother.
Mengyiyi Chen, piano
Listen To This Recording:
- Barcarolle in E-Flat Major, Op. 71 (publ. 1906) (4:40)
- L’escarpolette, Op. 52 (publ. 1901) (4:23)
Les Femmes de Légende (publ. 2003)
- No. 1 Mélisande, Op. 109 (1922) (2:40)
- No. 3 Ophélie, Op. 165 No. 1 (1909) (5:00)
- No. 6 Salomé, Op. 100 No. 1 (publ. 1909) (4:26)
- No. 5 Phœbée, Op. 30 (publ. 1909) (3:21)
- Romance sans parole, Op. 56 (publ. 1905) (2:18)
- Mazurka, Op. 26 (publ. 1896) (3:59)
- Il pleut!, Op. 102 (publ. 1913) (2:34)
- Méditation, Op. 33 (publ. 1905) (3:08)
Cinq petites piéces (publ. 1929) (9:17)
- Une flûte soupire, Op. 117 (1:59)
- Berceuse triste, Op. 118 (1:41)
- Boston Valse, Op. 119 (1:17)
- Agitato, Op. 120 (1:33)
- Cloches Iointaines, Op. 121 (2:47)
- Fauré Clair de Lune, transc. Bonis (publ. 1933) (3:12)
Scènes enfantines, Op. 92 (publ. 1912)* (14:01)
- I. Aubade (2:10)
- II. Joyeux réveil (1:46)
- III. Cache-cache (1:37)
- IV. Valse lente (1:19)
- V. Marche militaire (1:57)
- VI. Frère Jacques (2:08)
- VII. Bébé s’endort (1:39)
- VIII. Carillon (1:25)
Cinq pièces musicales (publ. 1897) (14:43)
- No. 1 Gai printemps: Impromptu, Op. 11 (publ. 1889) (2:52)
- No. 2 Romance sans Paroles, Op. 29 (3:16)
- No. 3 Menuet, Op. 14 (publ. 1889) (3:46)
- No. 4 Eglogue, Op. 12 (publ. 1889) (3:08)
- No. 5 Papillons, Op. 28 (1:41)
*First Recordings
MusicWeb International :
‘This disc offers twenty-nine individual pieces with the longest Ophélie, Op 165 No 1 just 5:00. Of the remaining 28, 18 are sub-three minutes, so the essence of Bonis’ keyboard art would appear to be the finely-crafted miniature. […] the significance of this new disc is the promise of a complete survey. Volume One is entrusted to Mengyiyi Chen who plays on a Steinway Model D. I had not heard Chen’s playing before, but she is clearly well-attuned to Bonis’ subtle sound-world and likewise the engineering provides her with an attractive soundstage with clarity and a natural balance suiting this music well. Notable too how consistent the engineering is across seventeen or so months of sessions. […]
A richly rewarding survey by any measure.’
—Nick Barnard, MusicWeb International
American Record Guide :
‘This is the kind of adventure Toccata has taken me on before. They find an excellent, often lesser-known pianist inspired to take on a big, multi-disc recording project of heretofore neglected piano music. The end result, as here, is both enjoyable and enlightening and includes some world premiere recordings as well.
Chen (b. 1993) is perfect for this job. She got her undergraduate degree from the Wuhan Conservatory and then her MM and DMA degrees in the US. She has all of the sensitivity required for these early 1900s pieces. Her shaped, legato musical lines make Bonis’s melodies sing; and she doesn’t shy away from the energetic, demanding writing also found here.
There is a sense of discovery all through this program, from the simple Scènes Enfantines to the more expansive and demanding Femmes de Legende to the late Barcarolle. Bonis made a transcription of Fauré’s `Clair de Lune’ in a manner that hearkens back to the great things Liszt did with Schubert songs. The addition of the voice part and a few appropriate pianistic touches to the piano part make this a piece I plan to learn. The recording is very good and the booklet essay goes into detail about every piece. It includes a complete list of Bonis’s piano music with the manuscript date as well as the publisher and date. Chen has her work cut out for her to complete this series, and I look forward to the next release.’
—Jim Harrington, American Record Guide, February 2024
Fanfare Magazine :
‘Bonis’s music is attractive, warmhearted, and tuneful. […]
[Mengyiyi Chen’s] clarity is impressive in the rapid-fire notes of Il pleut!
As usual with Toccata, the program notes are exemplary, as is the recorded sound.’
—Henry Fogel, Fanfare Magazine, February 2024
Fanfare Magazine :
‘This looks to be one of the most fascinating releases in the Toccata Classics series: the first volume of the complete solo piano music of Mélanie (“Mel”) Hélène Bonis (1859–1937), beautifully recorded at the University of North Texas, Denton by Wuhan-born Mengyiyi Chen. Now U.S.-based, Chen has worked with the wonderful Phillip Kawin, whose own recordings have been lauded in these pages. Her playing has delicacy; sometimes a little more flair might be called for in these delicious little miniatures, but she gives a good account of this charming music. […]
This particular release more than whets the appetite. There are surprisingly few world premiere recordings here—just the op. 92 Scènes enfantines, according to the documentation—but other recordings are buried in compilations, so to have the music presented like this has real value. Performances of such technical neatness have value, too: Chen’s staccato in particular is perfectly judged. […]
This is a fascinating disc and an auspicious beginning to this new series on Toccata Classics. Well recorded and annotated, there is plenty to enjoy here, and to learn’
—Colin Clarke, Fanfare Magazine, Sept/Oct 2024
Fanfare Magazine :
‘Her playing in these pieces by Mel Bonis […] is attentive to details and always sensitive to the subtleties and nuances of the music. A lovely, engaging, and enjoyable disc. Most warmly recommended.’
—Jerry Dubins, Fanfare Magazine, Sept/Oct 2024
Fanfare Magazine :
‘These works evidence a melodic gift, the preference for rich and colorful keyboard sonorities (with arpeggios a particular favorite), and a keen sense of proportion. There is also, from time to time, evidence of the composer’s delightful sense of humor. […]
Pianist Mengyiyi Chen performs the repertoire in admirable fashion. Her renditions are energetic, and colorful; she “sings” Bonis’s melodies with grace and style. William Melton’s liner notes offer a wealth of information, including in-depth musical analysis. The recorded sound is quite fine. Recommended.’
—Ken Meltzer, Fanfare Magazine, Sept/Oct 2024
Fanfare Magazine :
‘Chen’s shaped, legato musical lines make Bonis’s melodies sing, and she doesn’t shy away from the energetic, demanding writing also found on this release.
The recorded piano sound (Steinway D) is very good and the booklet essay goes into detail about every piece. It is exceptional and includes a complete list of Bonis’s piano music with the manuscript dates as well as the publishers and publication dates. Chen already has Volume Two planned out and I eagerly await its release.’
—James Harrington, Fanfare Magazine, Sept/Oct 2024
Gramophone :
‘Bonis falls decidedly into the ‘unjustly neglected’ category. […]
Hers is a well-chosen programme with which to introduce newcomers to the composer. […]
William Melton’s impressive 26-page booklet essay is everything you expect of Toccata.’
—Jeremy Nicholas, Gramophone
Concerto net :
‘Toccata Classics has released the first volume of Mel Bonis’s complete piano music, performed by Mengyiyi Chen, a talented young pianist with a lyrical touch. While Bonis composed in many forms, including works for orchestra, chorus and small groups, this collection of more than 77 minutes of piano works from throughout her life demonstrates the range and scope of her musical vision. […]
One of the most mesmerizing aspects of this collection is the range of the composer’s perspective. Whether tone-painting, as in the Femmes de légende or taking one’s breath away with a Mazurka full of unexpected modulations, Bonis displays an imaginative maturity throughout these selections that makes one yearn for future recordings. Chen’s interpretations are not only virtuosic and well balanced, but also full of enthusiasm for the composer: a real pleasure to hear. […]
Thank you, Toccata Classics, for this illuminating and enjoyable collection.’
—Linda Holt, Concerto net