Everybody interested in music knows that the
word ‘organ’ goes into sentences very near the word ‘boring’,
and, indeed, there is nothing like a dull recording of foggy
flues and blaring reeds swimming in too much acoustic to put
the listener off rapidly. What one does not often expect is
an organ recording of an instrument that is full of character
and complexity of sound, recorded in an ambient and spacious
acoustic that does not at all deprive it of clarity. K617 have
managed to achieve just that in this remarkably interesting
disc of early 17th century music played on the organ in the
Cathedral of St Etienne in Metz. This is an instrument dating
from 1537. Unfortunately for English monoglots the booklet only
contains information about the instrument, and a lengthy article
about the Cathedral, in French, although there are informative
notes about the programme in English.
The 17th century was, of course, one of the
most interesting eras of music, and saw huge advances in the
art of organ playing; this was the era of Buxtehude, Bach’s
great inspiration, and although there is no Buxtehude on this
disc (he is well recorded elsewhere) the composers here are
all masters of the keyboard art. Sweelinck’s variations are
justifiably famous and Norbert Petry gives colourful renditions
of the well-known ‘Ballo del Granduca’ and ‘Mein Junges Leben
hat ein End’ with much variation of not only registration but
tempo and phrasing as well, showing subtlety in the gentle pulling-around
of the phrase endings. This is never contrived, but just gives
the music time to settle and breathe. (Sample 1)
The other big work is Frescobaldi’s marvellous
Partita on the Romanesca, a pattern of bass notes and associated
harmonies that was one of the popular formulae for 17th century
composers and/or performers to make variations upon. Again Petry
has complete command of the instrument and the ability to transcend
the appearance of it as a mechanical medium and really make
it sing.
Throughout the recording there is a sense of
clarity in the recorded sound that is distinctly impressive,
especially given the position of the instrument halfway up the
wall of the cathedral. Finding the balance between hearing the
individual notes, without making the organ sound like it is
in a studio (not mention swamping the sound with the clattering
action noise so common to ancient organs) and maintaining the
sense of space and grandeur that comes from the building is
no easy task. K617 have done well in this balance. While the
clarity is lovely, there is also something of real magic in
the space too. The Tiento de medio registro de tiple XXXVIII
by Arauxo (Sample 2) brings to mind the image of expectation
as the organist improvises in the cathedral while waiting for
the start of a great procession. Once again, the dexterity of
articulation in Norbert Petry’s playing is consistently impressive.
Having mentioned above the blaring nature of too many organ
reeds it is interesting to note the difference in ancient French
reeds. (Sample 3). There is still the feel of power but a thicker,
more buzzing timbral quality gives much more cohesion to the
sound of the reeds in the overall tonal scheme. One can hear
where Cavaillé-Coll might have got the idea of his characteristic
French reed choruses in the 19th century. Sample 3 also gives
an impression of the wonderful acoustic. Overall, this is a
fascinating disc of great music, well recorded and played with
real skill and flair. Excellent listening and highly recommendable,
even to non organ fans.
Peter Wells
Recordings made in
Metz Cathedral in July and August 1991 