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FRANCK (1822-1890) The Great Organ Works CD 1
'Trois Pièces' (1878):
Fantaisie in A [14:57]
Cantabile [6:55]
Pièce Heroique [9:31]
'Trois Chorales' (1890):
Chorale No. 1 in E major [16:18]
Chorale No. 2 in B minor [15:39]
Chorale No. 3 in A minor [15:09] CD 2
From 'Six Pièces' (1860-63):
Grande Pièce Symphonique, Op. 17 [29:04]
Prélude, Fugue et Variation, Op. 18 [10:47]
Pastorale, Op. 19 [9:34]
Prière, Op. 20 [14:01]
Final, Op. 21 [12:32] CD 3
Pièce en mi bémol (1846) [11:00]
Andantino en sol mineur (1857) [6:50]
Pièce en la majeur (1854) [12:52]
Offertoire en sol mineur (1859) [8:23]
Andantino en la bémol majeur (1860) [4:19]
Offertoire en si majeur (1866) [5:35]
Offertoire en ut mineur (1885) [3:33]
Petite Pièce d'Entrée pour Concours (1877) [3:12]
Fantaisie in C major, Op. 16 from the 'Six Pièces' (1863)
[13:41]
Roberto
Antonello (organ)
rec: Oct 2002 (CD1); Oct 2003 (CD2); Oct 2004 (CD3), Parish
Church of Salgareda, Treviso, Italy. DDD FAGOTT
F-3906-4 [3 CDs: 78:33 + 76:00 + 69:30]
The organ used here was constructed by Andrea Zeni of
Tesero in 1999 to commemorate the centenary of the death
of the great French organ builder Aristide Cavaillé-Coll
(1811-1899). It seems that the Zeni organ at Salgareda
was inspired by the work of Cavaillé-Coll a sound with
which the music of Franck is inextricably linked.
Apart from the three sets being grouped together I cannot
discern any specific order in this sequence. The Fantaisie
in C major, Op. 16,the first of the set of Six
Pièces, is placed away from the other five of the set
on CD3 together with other miscellaneous works.
Franck was a Belgian, born in Liège, who studied at
the Paris Conservatoire. He was to live out the majority
of his life in Paris, becoming organ professor at the Conservatoire.
A high regard is given to Franck’s organ music by musicologist
David Ewen in his The Complete Book of Classical Music,
David Ewen, publ: Robert Hale, London, (1978). Pg. 641: “The
organ had become a neglected stepchild of French music
in the ninetieth century. It was restored to its one time
status by Franck. A remarkable organist himself, whose
improvisations were legendary.”
The first set of works on the disc are the Trois
Pièces from 1878. Franck wrote these for the Cavaillé-Coll
organ at the Palais du Trocadéro, in Paris. In the Fantasie
in A one detects varying moods, especially the long
peaceful section, although the themes remain rather cloudy
and undeveloped. The attractive Cantabile is kept
mainly within a limited range of the instrument and the
popular Pièce Héroïque reveals Franck’s ability
to move easily from chamber music delicacy to his symphonic
weight.
In 1890 Franck wrote his Trois Chorales shortly
after he was hit by a vehicle in Paris, an accident from
which he subsequently died. There is glorious writing in
the Chorale No. 1 - poignant with a comforting underlying
strength. In the Chorale No. 2 one immediately notices
the sad and brooding theme in the bass that Franck subjects
to a number of variations. Symphonic in feel, the Chorale
No. 3 makes an immediate impact, especially the Toccata-like
opening. The gentle central section provides a sense of
comfort and security and the finale is a triumphant
restatement of the main theme.
Disc two comprises five of the set of Six Pièces.
Early in 1858 Franck was appointed as organist for the
newly-constructed instrument at Sainte-Clotilde. Here Franck
was in charge of a magnificent organ; one of the greatest
achievements of Cavaillé-Coll. He soon made a reputation
for himself and admirers came from afar to hear his playing.
Around 1860-63 he started to publish some works that included
the Six Pièces. Liszt proclaimed the set worthy
of a, “place alongside the masterpieces of Johann Sebastian
Bach.”
At 29 minutes in duration the Grande Pièce Symphonique,
Op. 17 is a mighty work of large proportions. Often described
as a ‘symphony for organ’ it is not difficult to see comparisons
with Franck’s Symphony in D minor. The slow central
section is remarkably serene in quality, especially the
tender episode at 18:32-20:54 and the development to the
conclusion of the score is most dramatic. Containing beautiful
music of a special quality the Prélude, Fugue et Variation,
Op. 18 has an uplifting character. I found the main theme
to be particularly memorable. In the Pastoral, Op.
19 Franck lays out a brilliant palette of colours whilst
maintaining an unhurried nature. I experienced the Prière,
Op. 20 as a rather dense and uninviting work somewhat lacking
in variety when compared to the unrestrained joyfulness
of the Final, Op. 21.
The third disc, with the exception of the Fantaisie
in C major, Op. 16from the Six Pièces,
consists of eight miscellaneous organ pieces that span
the period 1845-85. The Pièce en mi bémol (1846)
is an early score, largely unchallenging, with a quiet
middle section. Immediately attractive, the Andantino
en sol mineur (1857) is a melodic and highly memorable
score and in the Pièce en la majeur (1854) I was
struck by the gossamer quality of the unhurried central
section. The three works the Offertoire en sol mineur (1859);the Andantino
en la bémol majeur (1860) and the Offertoire en
si majeur (1866) came across as lifeless and rather
monotonous. I enjoyed the grief-laden Offertoire en
ut mineur (1885) a work that drew me right to its
heart to experience its complex harmonies. By contrast
the Petite Pièce d'Entrée pour Concours (1877)
is light and carefree. The first of the set of Six
Pièces the Fantaisie en ut majeur, Op. 16(1863)
proved to be a generally uneventful score for its 11
minutes duration.
Organist Roberto Antonello seems admirably suited to
this Romantic repertoire. The pleasing timbre and the warm
coloured palette of the Zeni organ at Salgareda is an added
bonus. The soloist’s interpretations are generally restrained
with a rather cool precision. This is straightforward and
unadorned playing with an approach that at times felt measured
- maybe bordering on the ponderous. The sound engineers
have provided a decent focus for the organ and the booklet
notes are adequate.
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