The influence of Marcel Dupré on organ playing and composition cannot be
over-estimated, and what we have here is a direct link between composer and
maestro performer Pierre Cochereau. In a statement dated March 1975,
Cochereau points out that the tempi are “clearly faster than those
indicated” for the
Preludes and Fugues as well as the first
movement of the
Symphonie-Passion. Dupré was consulted by
Cochereau, and the composer was “completely in accord” with these changes in
tempi. Cochereau was also aware that the composer “has always shown extreme
tolerance with regard to the registration of his works”, so he “did not
hesitate to take certain liberties with the indications noted on the
score.”
The results are lively and exciting as well as musically expressive. There
are a few moments where editing has clearly been required, but with very
decent recording quality and an on-the-edge feel of improvisation and
spontaneity this is a document which every Dupré fan and performer should
enjoy, and of which they should take careful note.
Good music is also tolerant of differences in interpretation, but after
hearing the first
Prelude and Fugue in B major from Cochereau the
competition can sound rather tame. Good performances from the likes of
Janette Fishell on Naxos 8.553919 sound a bit static by comparison, though
Christian Praestholm only comes in a few seconds slower on ClassicO
CLASSCD680. This release also has the
Symphonie-Passion, and it is
here that Cochereau’s 5:48 in the first movement is telling against
Praestholm’s by no means sluggish 7:06. Naxos has Stefan Engels performing
the
Symfonie-Passion on 8.553920 in another decent performance,
though his contrasts are more ironed-out with a more cautious sounding first
movement and a rather more brisk third movement
Crucifixion.
Cochereau’s characterisation of this work explores greater extremes,
grabbing us in an opening
Le monde dans l’attente du Sauveur which
is agitated and at times almost violent. The
Nativité is not
without tenderness, but has more darkness than light. The weight of the
Crucifixion is doom-laden beyond any other performance mentioned
here, Cochereau defining the shape of the pedal lines with tragic clarity,
the growing sense of angst and agony a grim but compulsively organic ordeal.
The final major tonality of the
Résurrection is hard-won and by no
means entirely victorious, but this is an inspired and inspiring work which
keeps us guessing – avoiding cliché and resolutely evading resolution until
the very last chord.
This is a release packed with fine music. Aside from the famous filigree
of the
Prelude and Fugue in G minor we have the beautiful and
impressive
Cortège et Litanie written during Dupré’s first tour of
the United States. The popular and colourful
Variations sur un vieux
Noël Op. 20 also belong to this period, and who amongst us would not
want to have these pieces played on the great Notre-Dame organ by an
acknowledged master who had been taught by Dupré himself at the Paris
Conservatory. This is a recording which exudes the vibrancy of composer and
performer in a synergy rarely heard anywhere. The analogue recording works
in sympathy with this rather than standing in the way of our appreciation of
such a fine cultural artefact.
Dominy Clements
