I first heard Couperin’s Organ Masses on record as
played by Peter Hurford on the Decca label, and the opening
of the Messe a l'usage ordinaire des paroisses
is one of those ‘wow’ moments which haunts the memory and invites
further exploration. David Ponsford begins his series of ‘French
Organ Music from the Golden Age’ with the marginally less popular
Messe proper pour les couvents de religieux, et religieuses,
but impresses from the outset with well-considered tempi, rhythmic
security and clarity of expression and ornamentation.
As soon becomes apparent from the nicely documented booklet,
a great deal of attention is given to the instrument used for
this recording. This is, or would have been a fine period instrument,
its remarkable history described in some detail. Alas this is
an all too familiar tale of neglect and alteration over the
years, but the instrument has recently been rebuilt, indeed
‘resurrected’ to its 17th/18th century
specifications, and now produces the “fine, silvery Plein-Jeu,
a bright and powerful Grand Jeu, colourful cornets
and Jeu de Tierce” which is demanded for that authentic ‘French’
sound. The result on record is very fine indeed, without quite
the sheer spectacular mass of sound of some of the grand cathedral
organs we more commonly encounter, but with a communicative
voice which is equally if not more convincing in some of Couperin’s
Mass movements. I particularly like the throaty pedal tones
and breadth of contrast to be heard in this recording, and while
the stereo spread isn’t particularly wide the human scale of
the music is superbly voiced.
The ‘Golden Age’ project means discovering less familiar composers,
and in this case we are given the only surviving composition
of Pierre Du Mage. David Ponsford points out Du Mage’s debt
to his teacher Louis Marchand in the 1e Livre d’orgue contenant
une suite du premier ton in the booklet, responding to
“music of the highest quality” by giving it as much care and
attention as he has to Couperin.
Alongside Peter Hurford there is a deal of competition in in
the catalogue for Couperin’s two Organ Masses, and
despite quite heavy ambient noise the recording by Jean-Baptiste
Robin on Naxos 8.55741-42 is potently effective. Marie-Claire
Alain’s recording on the Erato label is also magnificent, and
if you are looking for Couperin’s complete Masses including
the plainchant vocal elements then there’s a rather nice double
disc recording on the Paladino label PMR0020 with organist James
Tibbles. Comparing David Ponsford against august competition
his playing is arguably a little more four-square than, say,
Marie-Claire Alain, though her more legato approach can go against
absolute clarity at times. There are plenty of ways to approach
this music, and at no point did I find myself in argument with
Ponsford’s decisions on tempi or interpretation. Performed on
an instrument with a remarkable range of colour and expression
this release is very much to be welcomed, and I look forward
to hearing what gems are to be included in future volumes.
Dominy Clements
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David Ponsford (organ)