Rolande Falcinelli is a name I suspect may not be hugely familiar 
                  beyond the world of organists, and French organist/composers 
                  in particular. The Hortus label has been raising her profile 
                  in recent times and these pages carry Chris Bragg’s review of 
                  her recital on Hortus 
                  038. There is a programme of her own compositions which 
                  has appeared on Hortus 
                  059 which was warmly received by Carla Rees. Organ improvisation 
                  is a form of musical creativity which is traceable to the famous 
                  duels of the Baroque period and beyond. Organists are still 
                  trained in the skills required to keep a church service going 
                  while the queues form for blessings, but few players demonstrate 
                  the creative powers demonstrated on this set of recordings. 
                  
                    
                  Rolande Falcinelli was introduced to the organ by a conservatoire 
                  classmate Gaston Litaize, and was soon rubbing shoulders with 
                  Olivier Messiaen and Maurice Duruflé and receiving guidance 
                  from Marcel Dupré, whom she succeeded as professor in organ 
                  at the Paris Conservatoire. This powerful and noble tradition 
                  can clearly be heard in the playing on this collection of improvisations. 
                  The first of these, Improvisation sur les noms de Franz Liszt 
                  et de Marcel Dupré has a palpable relationship with the 
                  dramatic gestures of Messiaen. This is the most recent of the 
                  recordings, and the later performances fare best in terms of 
                  sound quality, though each has its own little noises from the 
                  instrument and audience. There are a few moments of distortion 
                  on some of the earlier tapes at the highest peaks, but in general 
                  the recordings are very good, and certainly filled with vibrant 
                  atmosphere. The tuning of the instruments is also a minor issue, 
                  but none of this detracts from the flamboyant and daring inventiveness 
                  of Falcinelli at work. 
                    
                  The improvisations often commence with a rendition of the theme 
                  on which the playing is based, and it is fascinating to hear 
                  how the material is moulded and transformed. Improvisation is 
                  a ‘risky’ business, and there are one or two moments of unevenness: 
                  the occasional lingering on a banal rhythm, one or two exploratory 
                  slips of the fingers or a sense that the logic of a progression 
                  or a texture is having to be retrieved from the brink, but the 
                  overall impression is one of unique creations unfolding through 
                  stunning technique and remarkable inventiveness and imagination. 
                  If like mine your tastes embrace 20th century organ 
                  music and the French school in particular, then this CD provides 
                  a feast of refreshing new material. 
                    
                  Genuine organ improvisation of this kind hasn’t been covered 
                  on very many recordings, and the only other one I know is that 
                  of Jean Guillou playing at Saint-Eustache from 1969 on the Philips 
                  label, 446 644-2. Guillou is more off-the-wall and even anti-tradition 
                  in comparison to Falcinelli, freewheeling and exploring the 
                  sonorities and tuning of the instrument in a line which might 
                  arguably extend more towards the experimental composition of 
                  György Ligeti and artists such as Keith Jarrett on his fascinating 
                  Hymns/Spheres release on ECM. All three players are entirely 
                  distinct in their approach, and in their ways equal in terms 
                  of impact. Rolande Falcinelli might be more recognisably traditional 
                  in terms of background and approach, but she is also something 
                  a bit special. I can feel my spine tingling at the mixture of 
                  colours and surreal atmosphere of the Improvisation sur deux 
                  thèmes de Jean-Jacques Werner and am truly grateful that 
                  these moments have been preserved on record. 
                    
                  Dominy Clements   
                    
                  
                    
                  Track listing: 
                    
                  Improvisation sur les noms de Franz Liszt et de Marcel Dupré 
                  (pour le centenaire de la mort du premier et de la naissance 
                  du second), Cathédrale de Belley, 25 July 1986 [13:40]
                  
                  Improvisation sur un thème d'Eliane Lejeune-Bonnier, 
                  Cathédrale de Belley, 21 July 1980 [10:19]
                  
                  Improvisation sur un thème de Claude-R. Roland, et sur B-A-C-H 
                  (pour le tricentenaire de la naissance de Bach), Cathédrale 
                  de Belley, 17 July 1985 [14:42]
                  
                  Improvisation sur un hymne à Saint-Anthelme, Cathédrale 
                  de Belley, 17 November 1979 [13:16]
                  
                  Improvisation sur deux thèmes de Jean-Jacques Werner, 
                  Cathédrale Saint-Louis de Versailles, 17 October 1982 [10:25]
                  
                  Improvisation sur un thème de Maurice Duruflé, Saint-Etienne-du-Mont, 
                  8 June 1983 [10:38]