It is refreshing to receive a disc where not only are none of
the composers familiar even as names, but neither also is one
of the two instruments featured. To deal with the instrument first,
the txistu is a kind of Basque pipe and tabor. The pipe has three
holes so that it can be played with one hand while the other plays
a drum. About half of the pieces on this disc are for both txistu
and organ, and the various composers involved have each approached
this unlikely task in a different manner. Thus the three movements
of Salaberria’s Suite essentially let the two instruments
go their own way, with the txistu, including the drum, playing
folk-like passages with an attractive if fairly conventional accompaniment
from the organ. Salaberri’s “Nondik nora” is
described in the booklet as having an organ introduction which
“successively offers the twelve tones of the musical scale”,
as paying “a fugal tribute to the organ tradition”
and featuring “a bribilketa (pasacaille), an unveiled allusion
to the active role of txistu in many popular festivals”.
The piece itself however has an almost light music character,
and this listener would not have been surprised to learn that
it was really recorder music by, say, Armstrong Gibbs or Robin
Milford. I certainly enjoyed it even if its specifically Basque
character is not very strong.
The remaining work with txistu, Cuesta’s “Le Sommeil
de l’ange” which gives the disc its title, is very
different. Its musical language is very much in the post-Messiaen
mainstream of organ music, but making very imaginative use also
of the txistu. Its first entry sounds almost as though one of
the organ stops had broken free of the organ and been given a
human character, but as a whole the music has a logical shape
as well as a wholly imaginative. The other piece by the same composer,
for organ only, may be less obviously striking but is equally
imaginative. It was written in memory of his father.
The remaining works for organ solo on the disc are varied, even
if none of them is of any great consequence. The best is Luis
Urteaga’s “Marcia religiosa”, in a post-Franck
idiom and well written for the instrument. Indeed the particular
instrument here is a good reason to buy the disc. It is in a church
in Urrugne, on the Basque coast, and was constructed by Jean Daldosso
in 2009. As recorded here it is a fine instrument with a real
presence and character. The booklet includes a description and
stop list, in French only although the notes on the music are
also included in English and Basque. Without scores or any knowledge
of the performance traditions of this music I can only say that
the performances sound wholly admirable and have a real sense
of musical direction.
If, like me, your knowledge of Basque music is severely limited,
this disc is an attractive way of getting to know at least some
part of it. This would be a very worthwhile addition to the collection
of any jaded organ addict who is starting to think that they have
heard everything. I very much look forward to hearing this instrument
and player again in more music from this interesting tradition.
John Sheppard
Jesús Martin Moro (organ); Sergio Torices Roldán* (txistu) 
