Concerto for Cello and Orchestra (1932)
The Trianons: Suite for Harpsichord and Orchestra (1946)
Sonata for Alto Saxophone (or Viola) and Orchestra (1943)
The Bells of Vienna: Suite of Waltzes (1935)

One can readily identify mediocre composers by their rigid, formulaic structure, and lack of harmonic freedom and fluid development. Which is more often than not the reason why they eventually get overlooked and their music ends up relegated to the back shelves. French composer Fernande Decruck (1896-1954) is nothing like that which begs the question as to why her music has been ignored all this time. It seems the only work to have benefited from a handful of recordings is the Sonata for Alto Saxophone from 1943.

Her music is generally unrestrained from a lack of inspiration or imagination. Her studies at the Paris Conservatory were crowned by a first prize in harmony and second prize in counterpoint. Later on she mastered improvisation under the guidance of Marcel Dupré. All of these attributes are hallmarks of an original and innovative composer. As the short audio clip below from the Concerto for Cello and Orchestra demonstrates, there's an organic unfolding to her musical strands which lends the music a highly unconstrained forward momentum and development. As well, her choice of instrumentation is yet another indicator of a composer bucking the norm. Not many composers have chosen the saxophone or harpsichord as the solo instruments within concertante works.

I would have preferred to hear the Sonata for Alto Saxophone performed on its intended instrument, but here it's played in its transcription for viola by Mitsuru Kubo. The Suite for Harpsichord and Orchestra is performed here by Hyperion recording artist Mahan Esfahani. Now it may very well just be me, but it feels as if both Kubo and Esfahani were rushed to partake in this project. Both of them sound uncommitted and deliver interpretations that sound mechanical and compulsory, devoid of any expressive touches. And at times it even sounds as if Mitsuru Kubo's viola is slightly off pitch. On the other hand, Jeremy Crosmer fares much better with an eloquent reading of the Concerto for Cello and Orchestra.

Nonetheless, Fernande Decruck's music speaks for itself, and could be a valuable addition to any record collection for anyone seeking to hear hitherto unexplored 20th century music.