This recording is announced by Simax as a celebration of Jehan
Alain’s 100th anniversary, and indicates scholarly
work done by the organist to correct inaccuracies between Alain’s
written manuscripts and the published editions available. Complete
recordings of Jehan Alain’s organ works are less thick on the
ground than one might imagine given the quality of much of the
composition. Earlier recordings by Thomas Trotter on Argo helped
his cause in the 1970s, and Jehan’s sister Marie-Claire Alain’s
recordings on Erato are very much worth seeking out. There is
a set on the Nimbus label played by Kevin Bowyer of which I’ve
only heard fragments, but which seems like an attractive prospect.
My own reference is that of Eric Lebrun on two Naxos CDs, 8.553632
and 8.553633, though the differences in the instruments used
means the comparison is rather more of the chalk and cheese
variety than one which bears too much close scrutiny. Lebrun
is recorded on a typically pungent French organ, that at the
Church of Saint-Antoines des Quinze-Vingts, Paris.
Both of these sets open with Alain’s best known organ work Litanies.
This is a marvellous piece, completely ruined in Eric Lebrun’s
headlong rush, which looses all of the syncopated rhythms in
a big ball of resonance. Many players seem to equate speed with
excitement in this piece, which almost always misses the point.
Lars Notto Birkeland is a good deal better, though the rounder
sound of the Goll instrument means that even sharp articulation
and a more sensible tempo doesn’t quite equate to rhythmic punch.
The acoustic in Fagerborg Church is not overly resonant, but
neither is the organ particularly detailed sounding. I always
like to have an image of the instrument and its environment
with organ recordings, but this is something which is not included
in the booklet for this release.
Lars Notto Birkeland’s playing for this recording is very good
indeed, but for people who care about such things the sound
of the organ may be something of a consideration. There is French
‘sound’, of which the Cavaillé-Coll used by Eric Lebrun on Naxos
is a good example. This is much more reedy and nasal than the
Norwegian source on Simax, which may come across as somewhat
anodyne. If this is something that doesn’t bother you then there
are many wonderful things to discover and enjoy here, and I
would be the last person to dissuade anyone from experiencing
Jehan Alain’s music in whatever form.
The magical atmosphere of Le Jardin suspendu is gently and subtly
portrayed in this recording, the sustained feel and slow dynamic
swell creating the other-worldly feel this piece needs. Gentle
moods and sensitive phrasing are features of a nicely turned
Petite Pièce, the variations and layering of material typical
for both Alain and others of the region and period. Birkeland’s
own booklet notes mention each piece in turn, providing useful
quotes and references which provide insight and context. While
on the subject of the booklet, those remarkable line drawings
on the cover were Jehan Alain’s own work, and there are other
examples of his quirky and humorous style inside. Further highlights
of the first disc are the two Fantaisies, the first of which
is revealing of Alain’s desire to allow the listener to draw
their own conclusions rather than adhere to any one reference
or aspect of belief: “do not try to penetrate too deeply the
mysteries of faith and nature, appreciate without dissecting
them.”
The Suite pour Orgue is a substantial three movement work and
won an award in Paris, though the first two movements were originally
written for string quartet. The central Scherzo is particularly
fascinating, opening with a restrained sequence of duets in
the flute register before launching into rhythmic resolution.
Admired by Olivier Messiaen, you would expect to find some pre-echoes
of that master’s organ work in Alain’s music, and indeed the
Prélude which follows the Suite on disc 1 is something of a
blueprint for some of Messiaen’s more religious expressions.
The Fantasmagorie is a lovely little piece which acts as a preliminary
sketch for Litanies in its rhythms, this time as a kind of strange
dance perceived from a distance. The chorales and melodies which
conclude the first half of the programme demonstrate inexhaustible
harmonic and lyrical inventiveness allied to the meditative
nature of faith and the Church. The final Aria was the last
organ piece Alain wrote before his life was tragically cut short
early in World War II.
Spreading Alain’s most significant and popular works over the
two CDs, disc 2 opens with Trois dances, described as his ‘definitive
magnum opus, and his only work of symphonic character.” Comparing
timings, Birkeland is pretty much the same as Lebrun, taking
a more expansive view only of the third movement, Luttes. The
different character of the instruments is spotlit in numerous
aspects of this work, with the strange rhythmic interventions
in the first movement, Joies, having something of a darker,
almost sinister character from the French organ, the Norwegian
instrument coming across as a commentator of wittier intent.
It’s a point of preference and taste rather than one of criticism,
but I think the character of the Parisian instrument conveys
more of the mystery and character of the music. The incredible
central Deuils or ‘Sorrows’ movement became associated with
Alain’s sister Marie-Odile’s death in 1937, and is a huge arching
structure with fingerprint nervy rhythms developing with organic
might over a sustained 12 minute span. Lebrun’s tighter tempo
in the final Luttes gives this movement a more threatening,
martial feel, and again, the woollier sound of the Oslo organ
tells against in terms of comparison. The massive climaxes are
impressive on this Simax recording however, and I have nothing
but admiration for Birkeland’s technical prowess and interpretative
power.
The remainder of the second disc is taken up with smaller pieces,
and favourites such as the disarmingly antique-modern Variations
sur un thème de Clément Jannequin, the quiet De Jules Lemaître
which is so meditative as to be almost invisible, and the fascinating
textures of the Intermezzo are all conveyed nicely in this recording.
Alain’s aversion to bombast is reflected by concluding the entire
programme with the Postlude pour l'office de Complies, a gently
improvisatory piece inspired by one of the composer’s favourite
places, the convent church at Valloires.
I would love to be able to recommend this release without reservation.
Its presentation and documentation is excellent, the recording
is very good, the sequence of works well chosen and the performances
all world class. Plaudits go to Simax for marking an under-represented
composer’s 100th anniversary in this way. I fear
however that for lasting enjoyment and deeper analysis and appreciation
my ears will always be yearning for the greater variety of shade
and colour to be found in the best of French organs. That said,
I’ll bow to Jehan Alain’s quote: “How deeply I wish that, in
my music, each and every person found his or her own thoughts,
and not mine.”
Dominy Clements
Track listing
CD 1
Litanies (1937) [4:27]
Le jardin suspendu (1934) [6:42]
Petite Pièce (1932) [2:38]
Première Fantaisie (1933/34) [4:43]
Deuxième Fantaisie (1936) [6:55]
Suite pour orgue (1934-36) [17:34]
Prélude et Fugue (1935) [6:04]
Andante (1934) [4:47]
Fantasmagorie (1935) [2:37]
Choral cistercien pour un élévation (1934) [1:32]
Chant donné (1932) [1:32]
Lamento (1930) [3:56]
Choral Dorien (1935) [4:11]
Choral Phrygien (1935) [3:55]
Aria (1938) [6:18]
CD 2
Trois Danses (1937-1940) [25:26]
Monodie (1938) [2:36]
Complainte à la mode ancienne (1932) [1:12]
Variations sur un thème de Clément Jannequin (1937) [5:38]
Variations sur l’hymne «Lucius Creator» (1932) [4:43]
Deux Préludes profanes (1933) [6:56]
Deux Danses à Agni Yavishta (1932/34) [4:41]
De Jules Lemaître (1935) [3:19]
Intermezzo (1935) [6:17]
Berceuse sur deux notes qui cornent (1929) [2:30]
Grave (1932) [2:11]
Climat (1932) [2:59]
Ballade en mode phrygien (1930) [2:47]
Postlude pour l'office de Complies (1930) [5:14]
Lars Notto Birkeland (organ) 
