This CD is the fourth in a series entitled Symphonies Spectacular
and Sublime. This rather confusing title really refers to
the French Organ Tradition, which can be traced directly from
teacher to student from César Franck to Messiaen and
beyond. This tradition is very much centred on the instruments
built by Aristide Cavaillé-Coll which were ground-breaking
in their technological advancements as well as the symphonic
sound they created. So, whilst none of the titles on this disc
refer to “symphonies”, the sound-world of this tradition
is symphonic.
“Spectacular” is not a word that could be associated
with Florence Mustric’s rendition of the first piece on
the programme. Both movements are slow and laboured. The sound
from the Rudolph von Beckerath Organ at Trinity Evangelical
Lutheran Church is rather thin and Mustric’s choice of
registration - she uses the mixture but no reed as is common
practice for this repertoire - feels pedantic. There is some
saving grace when the fugue reaches the climax and stops are
added but the rubato in the fugue leaves the listener rather
confused. Whilst the organ was constructed by German builders
in a baroque style, it should be capable of showcasing this
repertoire. Mustric does a better job with the F minor Prelude
and Fugue. The registration choice is much more appropriate
and one can finally tell that the organ contains some lovely
stops. Perhaps it is the recording methods, but the pedal sounds
rather unclear, although it is obvious that this is a more thought
out performance, with the rubato working well in the prelude.
The G minor Prelude and Fugue is commonly recognised as the
hardest of Dupré’s compositions to play. Once again,
the performance is under-tempo and Mustric is over-fussy with
the details. Comparing this recording to that by Dupré
himself, also on an American organ, it is clear that his intentions
are more broad - the fast-moving figures are supposed to bubble
away under the sustained tune. Mustric is over-concerned with
detail to the detriment of the bigger picture. Her recording
of the prelude is two and half minutes longer than Dupré’s!
The fugue gives the impression of over-eating on Christmas day
and feeling full and bloated. However, the registration in this
fugue is far more interesting than in any of the others.
The Three Chorals by Franck were written shortly before
the composer’s death, and are some of the most accomplished
compositions in an organist’s repertoire. It is these
pieces, and the great man’s approach to composing them
that inspired generations to come. The first chorale is quite
introverted and performers have to find an interpretation that
is just as personal. Mustric does a better job with this piece.
Other performances use more flexibility of tempo, but the sounds
and gestures chosen by Mustric are convincing and the organ
sounds much warmer in this piece. The second choral is similarly
treated. The organ doesn’t have the same rich, dark sounds
that a French organ would have but Mustric clearly has an over-arching
scheme to unite the different sections and this works well.
The third choral starts strongly but the dramatic pauses suffer.
Also, the reed stop isn’t wholly in tune in the upper
registers, which detracts from the enjoyment of this piece.
The booklet notes are aimed at someone who doesn’t know
anything about either composer or about organs. Whilst this
might be a nice souvenir for someone visiting the church, it
won’t challenge other recordings of these works, and feels
rather cheaply produced.
Hannah Parry-Ridout
Florence Mustric (organ) 