Lefébure-Wély
is still mistakenly considered by many
organists and organ-devotees to be some
sort of clown. Nothing could be further
from the truth. His music, while perhaps
not always in the best possible taste,
simply reflects the trend of his time,
when the church music reflected necessarily
the contemporary operatic style. Not
for nothing did Cavaillé-Coll
always prefer to have his new organs
demonstrated by Lefébure. Nowadays,
Lefébure's music is better known
than that of Boely, who, though undoubtedly
a better composer, was hopelessly unfashionable
in his time. Today, though Lefébure's
organ works are usually treated as jokes,
something to race through at obscene
tempi with silly registrations in order
to send an audience home happy. His
non-organ works are never heard at all.
At the forefront of the Lefébure-revival
has been the Belgian organist Joris
Verdin. Fifteen years ago it would have
been astonishing to think that Verdin
could now give classes on Lefébure
during the biennial Gothenburg International
Academy, one of the greatest world-meetings
of organ-minds. I remember Verdin in
one of these classes exclaiming, on
finding a golden section recapitulation
in a little 'Récit d'Hautbois',
"when people find golden sections in
Bach, they go crazy, when they find
them in Lefébure, nobody cares!"
Well perhaps this is taking things a
little far, but the time has certainly
come to consider Lefébure in
a new light.
I was delighted then
to receive this very serious disc of
excerpts of 'L'Organiste Moderne' put
into their liturgical contexts, by means
of plainchant in the alternatim works,
motets, and even the bells of St Sulpice
recorded from within the church after
the final Sortie. Vincent Genvrin, the
titulaire of Soissons Cathedral, plays
every piece lovingly, never too fast,
coaxing the best out of the largest
of Cavaillé-Coll's surviving
masterpieces, in St Sulpice. Even the
rarely-heard hail machine makes an appearance
in the Noel Varié. Unfortunately
some of the choral singing is of a rather
lower standard. The marvellously theatrical
singing of Sylvie de May and Catherine
Ravenne can hardly fail to raise a smile,
it seems just right for the music.
Great music? No. Sentimental?
Sometimes. Operatic? Certainly. But
for recreating the atmosphere of the
Christmas mass at St Sulpice in the
time of Lefébure, and for demonstrating
music which Genvrin describes as "telling
and with an inherent equilibrium" which
such care and insight, this is hugely
enjoyable. Unfortunately only part of
the booklet is translated, and there
is no organ specification or photo,
a grave error. Don't let it put you
off, this is a must-have.
Chris Bragg