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Olivier MESSIAEN (1908-1992) Organ Works Livre d'Orgue (1951) [45:37] Monodie (1963) [3:54] Méditations sur le mystère de la Sainte Trinité (1969)
[83:43]
Michael Bonaventure
(organ)
rec. Rieger Organ of St Giles' Cathedral, Edinburgh, 1 December
2005, 8 January 2007 DELPHIAN
DCD34016 [72:02 + 61:12]
This
latest offering on the excellent Delphian label features three
of Messiaen's organ works, one explicitly liturgical, and the
others composed as formal exercises.
The Méditations were
composed for an evening of music and preaching on the theme
of the Trinity to celebrate the refurbishment of the grand
organ at La Trinité in Paris. The different movements or sections
respectively symbolise the father, the son, the holy spirit
and the godhead in its totality. It is the latest of the works
recorded on this disc, following the composition of the monumental
orchestral cycle La Transfiguration de Notre Seigneur Jésus-Christ,and
shows the composer's mature style. However, the final performing
version was premiered not in this setting and not even in France,
but rather in the USA, at the National Shrine of the Immaculate
Conception Washington, DC on a German-built organ. This recording
is therefore likely to have a sound quality closer to that
of the world premiere - and also of the European premiere,
which was in Düsseldorf - than the French recordings. This
in itself may be a point of significant interest.
Livre
d'orgue forms one of a series of works in which he explored
and developed his musical language formally, using different
rhythmic procedures. This gives it something of the sound
of a technical exercise for the player; it is not one of
the most accessible of the composer's works. For this reason,
it would not be the best introduction to his writing - whether
specifically for organ or more generally. And I say this
despite the excellence of both playing and recording on this
disc. Monodie is a short work commissioned in 1963
by Messiaen's assistant, Jean Bonfils, who was writing an
organ tutorial. It is unusual, amongst the composer's output,
in its simplicity - using just a single line.
Born
in 1962, Michael Bonaventure learned his craft on this particular
instrument, having been an organ pupil of Herrick Bunney at
this Cathedral. He was also a composition student of Judith
Weir at Glasgow University. From 1980 to 1997, he appeared
regularly as a recitalist in the Edinburgh Festival fringe,
and has performed Livre d'Orgue live on this organ in
1994. He is particularly known for commissioning and premiering
new works and arrangements for solo organ, including the compositions
of Jean-Pierre Leguay, organist at Notre Dame Cathedral, Paris.
A selection of these can be heard on the companion Delphian
Records disc, 2000 Nails (DCD 34013). He is currently
organist of all Saints Church, Blackheath in London.
The
Rieger organ was built in 1992 by the Austrian firm of Rieger
Orgelbau, being completely new apart from retaining a small
number of components from the previous (Willis, 1940) instrument.
Details of its specification are given in the accompanying
notes.
There
are already a number of authoritative recordings of Messiaen's
organ works: by the composer himself, by Olivier
Latry, by Jennifer Bate, by Gillian
Weir and by Christopher Bowers-Broadbent. This recording
is by someone particularly associated with contemporary music
and with Scottish composers; and is made on an Austrian organ
located in a Scottish cathedral. Inevitably its sound will
reflect the design of the instrument and the acoustic of the
setting, as well as the performer’s own interpretative insights
and choices. The Germanic-style organ here has a different
tone colour to those of the French tradition with which Messiaen's
music is so closely associated. It has a sharp, clear and precise
sound, resulting in a very defined recording.
Michael
Bonaventure's approach is to my mind closest to that of Jennifer
Bate (which
I also like) amongst the well-known recordings, and the furthest
from that of Olivier
Latry, although the same could be said of their respective
instruments. These have already been definitively compared elsewhere
on this site. It is both dynamic and sensitive, and the
recording is good; I have found it very enjoyable to listen
to. The question must be whether it is to be preferred to the
several recordings by leading performers including those closely
associated with the composer. Given the very close connection
between Messiaen's writing for the organ and the French liturgical
tradition, it is unlikely that this would be the only recording
one would want to own. However, it has technical merits and
modern recording quality, unlike the otherwise definitive (to
my mind) version of the composer's playing of his own work.
Indeed, arguably the nature of the instrument and the nature
of the setting produce a result technically superior to any
other recording save for that of Gillian Weir on Deutsche Grammophon.
Of
the several authoritative performances available, which one
prefers must to some extent be a matter of personal taste and
preference. This year's South Bank
Messiaen Festival provides the opportunity to hear several
of these renowned interpreters playing live, which must surpass
any recording of this repertoire.
The
serious enthusiast will almost certainly want to add this award-winning
disc to their collection. Lovers of this particular organ will
find it interesting to hear it put through its paces in this
particular repertoire. For other listeners, this CD may well
have a place as one of two or more recordings they own of this
work.
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