This is an excellent
introduction to French organ music from
the late nineteenth century until the
1960s. It serves as a compendium of
styles associated with some of the greatest
names in organ literature. And, interestingly,
there are excellent, personal connections
between all the composers on this disc.
This tends to give a sense of unity
and purpose that is perhaps unusual
in this kind of recital.
Musicologists will
no doubt argue with different shades
of opinion about who is the father of
French Organ music. However, I imagine
most would probably agree that it was
César Franck. There may well
be a minority report for some lesser
name. If we look at the composers on
this disc we see the line succession
well in place. Both Guy Ropartz and
Louis Vierne were pupils of the Great
Old Man. Ropartz was a bit of a dead-end
as far as the organ world is concerned.
He is the only composer here who was
not a professional organist. But that
does not belittle his contribution to
this disc. However Vierne himself taught
Marcel Dupré, who was in fact
his protégé. Furthermore,
from the teaching of Dupré, the
composers Gaston Litaize, Jean Langlais
and Olivier Messiaen all derived their
technique. Another strange connection
is the fact that Vierne, Litaize and
Langlais were all blind.
The first work, chronologically
at least, is the beautiful Prélude
funèbre (1896) by
Guy Ropartz. This is an extremely well
constructed composition that has a particularly
beautiful principal tune. I felt that
this work's only problem is its title:
remove the word 'funèbre' and
I imagine its popularity will increase.
To me it is reflective about life rather
than death. Of course Ropartz is in
his element in writing orchestral
music; his symphonies are a great, but
undervalued contribution to the literature.
The Three Improvisations
by Louis Vierne are interesting
in so far as they come to us by a slightly
devious manner. In 1928 the microphones
were installed in Notre-Dame where the
composer made a recording of some Bach
and the present improvisations. We have
to thank Maurice Duruflé for
transcribing them and ensuring publication
in 1954. The Marche Episcopale,
Méditation and Cortège
are all about three minutes long. This
was to ensure they would fit on a 78rpm
disc! Perhaps they are not Vierne at
his very best - but are welcome and
valued works in his canon.
Olivier Messiaen is
represented by the magical Offrande
au Saint Sacrement. This work was
found in his papers after his death
in 1992: it was finally published in
2001. Langlais believed that it dates
from around the time of the Le Banquet
Céleste (1928) and had been
part of a larger orchestral work duly
transcribed for organ. It is one of
the loveliest of this composer's works
and would serve as a perfect introduction
to his music. There is nothing here
that is difficult; there are no birds
or ragas.
Jean Langlais' impressive
Incantation pour un jour Saint
(1949) is based on Gregorian Chant.
It has words from the Easter Vigil from
the Tridentine Mass for its inspiration
with the words chanted by the priest
and congregation - 'Lumen Christi -
Deo Gratias' (Light of Christ - Thanks
be to God). This liturgical theme is
repeated twice - each time a semitone
raised. Langlais uses this at the start
and end of this work. The development
introduces a variety of styles of music
including dance rhythms. Altogether
quite a war-horse!
The long Evocation
(1964) comes from Jean Langlais' suite
- Homage à Rameau. This
composition was commissioned by the
French Minister of Fine Arts in celebration
of 200 years since the death of the
old master. This is an impressive work
that stretches the skill of the soloist
and the effectiveness of the instrument.
There are a number of contrasting sections
in this work that leads to an impressive
toccata and dynamic close.
The Suite Brève
dates from 1947. It is in four contrasting
movements that derive from earlier material
written as incidental music for a radio
play. The two outer movements are big
gutsy pieces that would make good recessionals
for any church service. The two middle
movements, a Cantilène
and a Plainte are much more profound
in their concept. These are intimate
pieces which act as a foil to the rumbustious
Grands jeux and Dialogue sur
les mixtures.
There are three works
here by the relatively unknown composer
Gaston Litaize. The first is a fine
Scherzo (1932) in the direct
tradition of Gigout, Widor and Duruflé.
The Lied (1934) is a well thought
out song without words with an attractive
melody, which is repeated with variation
three times. The Epiphanie (undated)
is a bit of a war-horse which deserves
greater recognition. I remember hearing
it being played in Notre Dame when the
clergy were processing out after mass.
It was impressive then and is now. As
far as I can see there is no CD dedicated
to this composer's music - especially
his volume of Douze Pièces
(pour orgue).
Marcel Dupré
was one of the leading organ composers
in the Twentieth Century. He wrote a
vast amount of music for this instrument,
including concerti. Most of this has
thankfully been recorded by Guild and
Naxos.
The programme details
are perhaps a little misleading in not
clearly pointing out that this
is the last movement of a much larger
'symphonic' work. 'Evocation' (1941)
has three movements, Moderato,
Adagio con tenerezza and the
present Allegro Deciso. However
we are not to be disappointed with this
great, powerful 'toccata'. It has everything
one could wish for - complexity, virtuosity,
and sheer triumphalism. It was written
at a time of German occupation and personal
sorrow as a result of the composer's
father's death. Yet its mood is one
of hope.
There can be no faulting
of the fine organ at Lincoln Cathedral.
This large 'Father' Henry Willis organ
was first heard in 1898 with Sir Walter
Parratt delivering the opening concert.
In 1998, exactly one hundred years to
the very day Daniel Roth gave a recital
after its major restoration by Harrison
& Harrison.
It is a fair sized
four-manual organ with sixty-four speaking
stops. There is no doubt that it is
an instrument that is ideally suited
to this selection of demanding works.
The string sound is especially subtle.
The cover of the CD
has a fine painting by John Wilson Carmichael
called 'The Brayford Pool & Lincoln
Cathedral'. The programme notes
are adequate, although a little more
analysis would have been helpful.
I enjoyed the sound
of this CD - the balance between the
sultry quiet of Messiaen's Offrande
au Saint Sacrement and say, the
'republican' exuberance of March
Episcopale by Louis Vierne is perfect.
The organist, Colin Walsh, who is the
Cathedral Organist Laureate, handles
his material with skill and one feels
that he is actually enjoying and relating
to what he playing.
I can think of few
better recordings than this that offers
the listener an insight into the magic
of French organ music from roughly the
first half of the twentieth century.
A few of these pieces are well established
as a part of the standard repertoire.
However others seem to be known to connoisseurs
only. Some of these works are the only
easily available version in the catalogue.
John France
Colin Walsh, organist 