This source has numerous releases dedicated to the organ playing of Pierre
Cochereau, many of which celebrate and preserve his remarkable skill as an
improviser, to the extent of performing entire organ symphonies (see
review) ‘on the hoof’, as it were.
This release is a well selected programme of variations on pre-existing
themes, and it also marks a 30 year anniversary since Cochereau died on 5
March 1984 at the age of only 59.
These are all live recordings, and as you might expect from their vintage
they are not quite as smooth as perfected performances made under studio
conditions and with digital technology. There is a modicum of tape hiss,
some peaky moments with the grandest of tuttis and a few tape bumps here and
there, though in general the sound is very acceptable. The balance favours
the upper registers over the lower, so fans of trouser-flapping low organ
notes may be a little disappointed, though the spectrum does capture
everything. Extraneous noise is fairly negligible, though there is a strange
vocal explosion at 7:30 into track two and premature but understandable
applause breaks into the track three
Partita about halfway
through.
There are inevitably some passages which arguably push the boundaries of
reasonable good taste, but with these recordings it is the journey and those
unique moments which occur along the way which make them valuable. There are
very few moments where you suspect that Cochereau is playing his way out of
a problem, and while there are a few split notes and a couple of ragged
moments you always feel the hands and feet of a real master at work. Take
the mysterious opening and conclusion of the
Prélude et Choral
varié sur un noel as just a representative example. Three out of
five of these tracks come from performances at Christmas but Cochereau
doesn’t deliver a merely festive message. There is plenty on which to
reflect as well as music to rouse the spirit, and a strong element in
Cochereau’s art is that he never presents anything representing a
‘conventional’ set of variations. Each performance has a
carefully considered architecture, and Cochereau’s creativity often
takes us so far away from the original themes that they are more of a memory
than a basis for improvisation.
This will be an automatic choice for collectors of Pierre Cochereau’s
playing from this source, and should be a consideration for those looking
for something a little out of the ordinary when it comes to organ
recordings. Warts and all, these are far more than mere souvenirs of an
organist serving his contractual obligation.
Dominy Clements
