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ORGUES DU JURA FRANCO-SUISSE
Triple CD Set

CD 1: Organ works by: - Jehan TITELOUZE (1563-1633): 1. Exultet Coelum 1er verset, 2. Exultet Coelum 2ème verset, 3. Exultet Coelum 3ème verset, - Louis COUPERIN (1626-1661): 4. Ave Maris Stella, 5. Ave Maris Stella en trio, 6. Ut queant laxis, 7. Fantaisie sur le Pange lingua, 8. Pange lingua, 9. Fantaisie sur une basse de trompette, 10. Duo de tierce, 11. Fantaisie à 4, 12. Symphonie, - Nicolas LEBÈGUE (1631-1702): 13. Cromorne en taille, -Franz TUNDER (1614-1667): 14. Praeludium, 15. Choral ‘Christ lag in Todesbanden’, Dietrich BUXTEHUDE (1637-1707): 16. Choral ‘Mensch, willt du leben seliglish’ (BuxWV 206), 17. Choral ‘Ich ruf zu dir, Herr Jesu Christ’ (BuxWV 196), 18. Passacaglia (BuxWV 161), Nicolas LEBÈGUE : 19. Prélude du 1er ton, Louis MARCHAND (1669-1732): 20. Quatuor, 21. Tierce en taille, 22. Fond d’ orgue, 23. Dialogue. [72:41]
Etienne Baillot and Jacques Béraza, Organists
Organ by: K.Riepp, 1754, Reconstructed by P. Hartmann from 1958, Dole Collegiate, France
CD 2: Extraits des deux Livres pour orgue de Jacques BOYVIN (1649-1706): -Suite du 1er ton: 1. Grand plein jeu continu, 2. Fugue grave sur les anches, 3. Duo sur la tierce, Récit tende pour le nazard, 5. Grand Dialogue à choeurs, sur les grands jeux, -Suite du 7è ton: 6. Voix humaine, 7. Basse de trompette, -Suite de 3è ton: 8. Prélude sur le plein-jeu, 9. Dessus de petite tierce, 10. Concert de flutes, 11. Cromorne en taille, -Suite du 5è ton: 12.Grand Prèlude avec les pédalles de trompettes meslées, 13. Récit de cornet, 14. Duo sur le cornet et la trompette 15. Tierce en taille, -Suite du 4è ton: 16. Prélude en fond d’ orgue, 17. Fugue chromatique, 18. Dialogue en fugue, -Suite du 6è ton: 19. Plein jeu à deux choeurs, 20. Trio pour la pedalle, sur les flûtes, 21. Fugue-quatuor, -Suite du 2è ton: 22. Dialogue de récits, cromorne et tierce, 23. Dialogue sur les grands jeux, à 2 choeurs, 24. Trio à deux dessus, -Suite du 8è ton: 25. Grand dialogue à trois choeurs, sur les grands jeux, -26 to 35:Noëls français à Orgelet: Nicolas LEBÈGUE (1631-1702) : 26. Une Vierge Pucelle (Choeur), 27. Une Vierge Pucelle (Orgue), 28. Noël pour l’amour de Marie (Choeur), 29. Noël pour l’amour de Marie (Orgue), Jean-François DANDRIEU (1682-1738): 30. Nous sommes en voie (Choeur), 31. Nous sommes en voie (Orgue), Michel CORRETTE (1709-1795): 32. Vous qui désirez sans fin (Choeur), 33. Vous qui désirez sans fin (Orgue), 34. A minuit fut fait un réveil (Choeur), 35. A minuit fut fait un réveil (Orgue). [71:21]
Francois Delor and Daniel Meylan, Organists
Organs by: -M. Carouge, 1721, St.-Cyr and St. Juliette of Champagnole, Champagnole, France, -J. M. Baffert (?), 1627-1630, Completed by M. Carouge, 1724, Restored by B. Aubertin, 1985, Notre Dame de l’ Assomption of Orgelet, Orgelet, France.
CD 3: Organ works by: - Jean-François DANDRIEU (1682-1738): 1. Offertoire en la mineur, - Jacques BOYVIN (1649-1706): 2. Tierce en taille, - Dietrich BUXTEHUDE (1637-1707): 3. Preludium en ré majeur (BuxWV 139), 4. Choral ‘Durch Adams Fall ist ganz verderbt’ (version vocale harmonisée par Schein), 5. Choral ‘Durch Adams Fall ist ganz verderbt’ (BuxWV 183), 6. Choral ‘Komm, heiliger geist, Herre Gott’ (version vocale d’ après le Livre d’ Erfurt), 7. Choral ‘Komm, heiliger geist, Herre Gott’ (BuxWV 199), Jean-Sébastien BACH (1685-1750): 8-10. Concerto en la mineur (BWV 593),- Georg BÖHM (1661-1733): 11. Choral ‘Vater unser im Himmelreich’ (version vocale d’ après le Livre de Weimar), 12. Choral ‘Vater unser im Himmelreich’, 13. Choral ‘Von Himmel hoch, da komm’ ich her’ (version vocale harmonisée par Pretorius ici transposée 1 ton au dessus), 14. Choral ‘Von Himmel hoch, da komm’ ich her’, 15. Prélude et fugue en ut majeur, Françs DAGINCOUR (1684- 1758): 16-21.Suite du 6ème ton: -Plein jeu, -Duo, -Récit de nazard, -Basse de cromorne, -Trio, -Dialogue, Michel CORRETTE (1709-1795): 22. Offertoire en la majeur. [56:37]
Organist: Daniel Meylan with Camerata Baroque Orchestra
Organ by: Richard Nicole, 1991, Sentier Church, Vallée de Joux, Switzerland
Recorded: 1999
K 617104/3 [199:99]
This is a collection with the exploration of the organ landscape of Franco-Swiss Jura as its primary purpose. This region had not enjoyed a peaceful history until the 17th century when a more stabilized period brought about cultural and religious growth. The 18th century was credited with several nice organs and skilled organ builders such as Karl Joseph Riepp and Marin Carouge. As the quite informative booklet says ‘these builders would share the ‘Grand Siècle’, marking Jura with their wonderful achievements at Champagnole, Orgelet and Dole, associated in this first pack with the ‘modern’ organ from the church at Sentier’.

The Riepp organ in Dole Collegiate was completed in 1754 and carries a magnificent case. The sound, even though not a pure aggressive French baroque, is uniquely mellow - very pleasant to the listener. The German baroque pieces performed on this organ are work quite well.

The Carouge organ of Champagnole restored in 1989 by Denis Londe is another unique example in the area. It is quite small but with an excellent sound and beautiful case.

The church of Notre Dame de l’Assomption of Orgelet ‘dominates the superb wild countryside of Jura. This immense imposing building is a proof of what remains of an era when this city was the bailiwick capital of the Southern Earldom, a rich town occupying a privileged position throughout the region’. Marin Carouge completed the organ built probably by Jehan de Herville, in 1724 when he enhanced the sound system by ‘adding a trumpet, a vox humana and a set of tierce’. In 1985, after a series of unsuccessful reconstructions, Bernard Aubertin restored it to its classic French prime.

The last organ used for this collection is the new 1991 Richard Nicole organ at the Swiss area of Joux. The organ sounds quite pleasant in a good French baroque style.

The repertoire chosen for this collection is mainly French baroque covering a broad period, with a taste of North German baroque composers from Tunder to Bach.

Etienne Baillot’s performances are rather neutral and do not present enough grandeur and majesty. There is no sense of sensitivity at points where the harmonic progress carries a dramatic character thus the result is that the music is not lifted from the page.

Jacques Béraza on the other hand, gives more persuasive performances even though his playing is also quite predictable. The ornaments suit technical necessity rather than artistic taste. Nevertheless there are moments, especially in the Couperin pieces where the listener can experience sensitive playing.

Francois Delor’s playing comes across as committed, emphasizing meaning. His performances are light but sensitive, with a good sense of inégalité and ornamental treatment. Certainly these are convincing accounts.

Daniel Meylan gives good performances in the French baroque pieces with clear lines and articulation but does not achieve the same result in the German baroque ones. The Bach concerto in La min. is played too fast and it is rhythmically unstable, whereas the Buxtehude and Böhm pieces lack a good sense of harmonic line and progress.

The Camerata baroque succeeds in delivering good vocal timbre and sensitivity with good intonation.

Christina Antoniadou



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