This new release from
Hortus is actually a live recording
of a concert given in January 2005 in
the Paris Conservatoire as part of a
conference discussing contemporary music
for organ. The idea behind the concert
was to present nine French-speaking
organists under the age of forty in
performances of their own works. The
best known composer here is Thierry
Escaich, perhaps the best known organist
is Eric Lebrun. Considering the live
nature of the event the playing is astoundingly
consistent from all the performers.
For me the most attractive
music is the work by the young titulaire
of Poitiers Cathedral, Jean Baptiste
Robin whose Naxos recording of Couperin
I reviewed
here last year. His evocative, dramatic
and actually quite accessible music
will become better known I think. The
music of Thierry Escaich is already
becoming a repertoire staple with certain
players. I managed to hear one of his
works twice last summer by visiting
organists in different churches in Haarlem!
Here he presents a composition written
for the opening of the featured instrument,
the Conservatoire's Rieger from 1991.
It features the explosive energy and
extreme rhythmic complexity typical
to Escaich's music. Elsewhere I enjoyed
the dramatic contrasts of Eric Lebrun's
'Eli Eli', the textural and registration
simplicity of the miniatures of Laurent
Carle and the duet by Christophe Marchand,
a tribute to the stylus phantasticus
as practised in Italy by figures such
as Fresobaldi and Pasquini.
Indeed one of the most
interesting features of the music here
is the number and variety of influences.
Lebrun's cycle is a tribute to Biber's
Rosary Sonatas, Valery Aubertin's tough
'symphonic poem' is inspired by four
paintings of Van Gogh, while Benoit
Mernier's Inventions are inspired by
the organs of Gottfried Silbermann.
In 1991, when the Paris
Conservatoire moved to its imposing
new building in the Parc de la Villette,
they commissioned a large organ by Rieger
for its upturned-pudding shaped organ
hall - with a curiously dry acoustic.
The organ was to "speak French" as Michel
Bouvard suggested, but in fact it follows
precisely the Rieger ideals typical
in every one of their organs of the
time. It was not a success, and was
completely revoiced by Michel Garnier
in 2002. It remains a deeply unattractive
instrument with hard choruses, cold,
neutral reeds and nothing else memorable.
Recording this concert
was a good idea, and this organ type
does play contemporary music better
than anything else of course, but I
long to hear some of these works on
a better instrument in a better acoustical
environment.
Hortus show yet again
why they are the leading label in the
field of documenting French organ culture
with an imaginative and beautifully
presented release. All works feature
extensive programme notes from the composers.
Highly recommended.
Chris Bragg