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Wolfgang
Amadeus MOZART (1756-1791) Ouverture (Intrada et fugue) in C K 399/285i (1782)
[4:22]
Adagio in C für Glasharmonika K 356
(1791) [3:28] Fugue en mi bémol majeur K 153/375f
(1782) [2:17] Fugue en sol mineur K 154/(358k)
(1782) [1:46] Andante mit Variationen K 501 (1786)
[8:35] * Fugue en sol mineur K 401/375c (1782)
[3:27] * Trio en sol majeur K 443/385l [1:55]
* Adagio und Allegro in f für eine
Orgelwalze K 594 (1791) [10:24] Ach Gott, vom Himmel sien darein
K 620b [3:22] Eine kleine Gigue en sol majeur K
574 (1789) [1:35] Andante in F für eine kleine kleine
Orgelwalze K 616 (1791) [6:37] Zwei kleine Fuguen (Versetten) für
Orgel K 154a (1782) [0:30] [0:24]
Allegro und Andante in f für eine Orgelwalze K 608 (1791) [9’18]
Olivier Vernet,
organ, * with Cédric Meckler (4 mains)
Rec: St Louis en L’ile, Paris, 25-27 May 2006 DDD
LIGIA DIGITAL Lidi0104171-06
[59:31]
The astonishingly prolific French recording artist Olivier
Vernet turns his attentions to music of Mozart in this release from
Ligia. Billed as the complete organ works, it includes, in addition
to the 3 famous works for the orgelwalze, a number of sketches
and shorter works, together with several 4-hand pieces performed
with Cédric Meckler. The programme makes a satisfying hour’s listening
and can be enjoyed in a single sitting.
I have, however, serious reservations about Vernet’s playing. At
its best it features a rather charming playfulness (Fugue en mi
bemol), but too often it is hard driven, has a tendency to rush,
features skittish articulation, and is in general lacking in poise.
The central section of the K594 Fantasia is so hectic as to quickly
become maddening, (especially given the secondary registration with
the 1 1/3’ stop which is irritating in the higher registers). The
more famous K 608 Fantasia is probably the fastest on record, and
feels forced with slightly messy ornaments and an overall sense
of panic. The 32’reed is great, but demands another tempo. The excessive
contrast in tempi between the sections also contributes a feeling
of a lack of unity. The four-hands works, perhaps out of necessity
feel more relaxed and work better.
The organ on the other hand is stunning; the new Bernard Aubertin
instrument in the church of St Louis en L’ile in Paris has received
my praise here before. Here it is brutally recorded allowing little
to be appreciated of how it actually sounds in the room. And while
some flutes work ravishingly the context of Mozart’s music, the
mid-18th century middle German character of the organ
often feels too severe for the rococo nature of the literature,
with the exception of Mozart’s counterpoint essay K620b which is
hard to recognise as coming from his pen. The quality of the instrument
remains though undeniable.
It’s a shame given the beautiful instrument, and the undoubted talents
of Olivier Vernet not to be able to be more enthusiastic.
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