BUY NOW 

Crotchet   AmazonUK   AmazonUS

This is a collection with the exploration of the organ landscape of Franco-Swiss Jura as its primary purpose. This region had not enjoyed a peaceful history until the 17^th century when a more stabilized period brought about cultural and religious growth. The 18^th century was credited with several nice organs and skilled organ builders such as Karl Joseph Riepp and Marin Carouge. As the quite informative booklet says ‘these builders would share the ‘Grand Siècle’, marking Jura with their wonderful achievements at Champagnole, Orgelet and Dole, associated in this first pack with the ‘modern’ organ from the church at Sentier’.

The Riepp organ in Dole Collegiate was completed in 1754 and carries a magnificent case. The sound, even though not a pure aggressive French baroque, is uniquely mellow - very pleasant to the listener. The German baroque pieces performed on this organ are work quite well.

The Carouge organ of Champagnole restored in 1989 by Denis Londe is another unique example in the area. It is quite small but with an excellent sound and beautiful case.

The church of Notre Dame de l’Assomption of Orgelet ‘dominates the superb wild countryside of Jura. This immense imposing building is a proof of what remains of an era when this city was the bailiwick capital of the Southern Earldom, a rich town occupying a privileged position throughout the region’. Marin Carouge completed the organ built probably by Jehan de Herville, in 1724 when he enhanced the sound system by ‘adding a trumpet, a vox humana and a set of tierce’. In 1985, after a series of unsuccessful reconstructions, Bernard Aubertin restored it to its classic French prime.

The last organ used for this collection is the new 1991 Richard Nicole organ at the Swiss area of Joux. The organ sounds quite pleasant in a good French baroque style.

The repertoire chosen for this collection is mainly French baroque covering a broad period, with a taste of North German baroque composers from Tunder to Bach.

Etienne Baillot’s performances are rather neutral and do not present enough grandeur and majesty. There is no sense of sensitivity at points where the harmonic progress carries a dramatic character thus the result is that the music is not lifted from the page.

Jacques Béraza on the other hand, gives more persuasive performances even though his playing is also quite predictable. The ornaments suit technical necessity rather than artistic taste. Nevertheless there are moments, especially in the Couperin pieces where the listener can experience sensitive playing.

Francois Delor’s playing comes across as committed, emphasizing meaning. His performances are light but sensitive, with a good sense of inégalité and ornamental treatment. Certainly these are convincing accounts.

Daniel Meylan gives good performances in the French baroque pieces with clear lines and articulation but does not achieve the same result in the German baroque ones. The Bach concerto in La min. is played too fast and it is rhythmically unstable, whereas the Buxtehude and Böhm pieces lack a good sense of harmonic line and progress.

The Camerata baroque succeeds in delivering good vocal timbre and sensitivity with good intonation.

Christina Antoniadou

Return to Index