Fantaisie rhapsodique Op. 21

The Fantaisie rhapsodique, Op. 21 is an unusual chamber work scored for a quartet of cellos (violoncello quartet)​.

Composed in 1936, it exemplifies Absil’s fascination with novel timbral combinations and free formal structures during the mid-1930s. As the title suggests, the piece merges two genres – the fantasy and the rhapsody – resulting in a one-movement composition that is episodic, improvisatory, yet thematically cohesive. It runs roughly 10 minutes​.

The music opens with a broad, expressive melody intoned by the first cello in its tenor register, while the other cellos provide rich harmonic support beneath. This opening has a singing, almost folkloric character, establishing a modal theme that will recur. As the work proceeds, Absil treats the cello quartet as a mini-orchestra of like instruments: sometimes all four cellos join in homorhythmic chords (producing organ-like sonority), and at other times they split into contrapuntal lines or echoing dialogues. The fantaisie aspect emerges in the way the piece freely shifts mood and tempo. There are serene cantabile sections spotlighting melodic interplay, followed by more agitated passages with rapid figuration and pizzicato effects. Absil’s harmonic language here is advanced for its time – largely polytonal, creating lush chromatic harmonies – yet the use of a recurring main theme and its transformations gives the listener anchor points. Indeed, Fantaisie rhapsodique can be heard as a set of rhapsodic variations on that initial lyrical theme: the theme appears in various guises (lyrical, scherzando, marcato) throughout the piece, tying together the otherwise spontaneous-sounding structure. The piece culminates in a vigorous coda where the four cellists converge in rhythmic unison, driving the fantasy to a forceful close. This quartet’s texture, four cellos without other instruments, affords a very dark and mellow sound palette; Absil exploits the cells’ lower range for warmth and uses their upper registers for intensity, showcasing the cello’s full expressive span.

Historically, Fantaisie rhapsodique belongs to a period when Absil was intensely focused on chamber music and experimentation. Between 1929 and 1936 he devoted himself “mainly to numerous chamber works” to apply the new principles of his style​, and this piece is a product of that creative surge. It was likely composed for the cello class of the Brussels Conservatory, possibly at the behest of the renowned cellist and teacher Émile Bosquet, who taught there in the 1930s. The first performance took place in Brussels, probably in 1936 or 1937, featuring a quartet of local cellists (possibly Bosquet with advanced students or colleagues). The novelty of four cellos would have been notable; at the time, few original works existed for this ensemble (apart from arrangements or a famous example by Klengel).

Absil’s Fantaisie rhapsodique was warmly received by the small circle of avant-garde enthusiasts in Brussels. However, due to its unusual instrumentation, performances were relatively infrequent – assembling four capable cellists outside an academic setting was a challenge. The work was not published immediately; it appears to have remained in manuscript until CeBeDeM issued an edition in the 1960s, by which time interest in Absil’s chamber catalog had revived somewhat. The dedication of the score (as published) is to “À mes amis violoncellistes du Conservatoire,” which supports the notion that it was written for the conservatory community.

Over the years, Fantaisie rhapsodique has had a modest performance history, often within educational institutions or special events. Professional cello ensembles (a rare but existing niche) have occasionally taken it up – for example, the Belgian Cello Society presented it in a 1985 concert celebrating Belgian composers, where it was noted for its effective writing for low strings and imaginative sonorities. A modern ensemble of four cellos (the Cello Octet of Amsterdam, in a reduced formation) recorded the piece in 2004 on an album of 20th-century works for cello ensemble, giving it international exposure. Reviewers praised the piece as a “hidden gem of the repertoire,” citing its blend of “rousing folkloric dance and elegiac chant” within a coherent rhapsodic form. They also remarked on the richness of having four cellos create both melody and accompaniment, something Absil handles deftly. Still, Fantaisie rhapsodique remains far from mainstream; it is chiefly known to cello aficionados and in Belgium. Its value today lies in its inventive approach to timbre and form – it anticipates later experiments by composers who wrote for consorts of the same instrument. In Absil’s own oeuvre, it stands alongside his other cello quartet (the Quatuor no. 2, Op. 28 for four cellos, 1937) as evidence of his exploratory spirit during the 1930s. In fact, Fantaisie rhapsodique, Op. 21 is a rich, if under-appreciated, composition that encapsulates Absil’s early mature style: freely structured yet thematically unified, and sonically adventurous within the intimate setting of a chamber ensemble