The French organ school
between the middle of the 19th
century and the end of the 20th
century is amongst the most memorable.
During this period many French organist-composers
flourished and influenced each other.
This CD presents the ‘junior contemporaries
of Franck’ as the well-presented booklet
informs us. From Saint-Saëns to
Langlais there are close links from
one generation to the next. Boellmann
was a pupil of Gigout. Guilmant was
a co-student with Widor, another significant
organist-composer, who introduced the
later Vierne to the tradition of the
French symphonic organ school. More
recently, Langlais, a co-student with
Messiaen, successfully continued the
long French tradition. These composers
were influenced by the organs of Aristide
Cavaillé-Coll, built in many
significant churches in Paris. These
include Notre-Dame, Saint-Trinité
and Saint Clotilde.
The restored organ
by Danion-Gonzalez with a further 11
new stops has the characteristic rich
and ‘round’ sound of a French romantic
organ, blending with the ‘delicate sonorities’
of the past centuries. The big and wonderful
acoustics of the Cathedral ‘enhances
the sounds without impairing their color
or clarity throughout the vast building,
which contains the highest nave in Europe’.
The Suite Gothique
remains the most famous work of Boellmann
especially the concluding Toccata -
brilliant though not technically difficult..
The Cantilène Pastorale is dedicated
to Guilmant’s father. The March on ‘Lift
up your Heads’ uses the same title-theme
from Handel’s Messiah. The Improvisation
in A minor is the last piece of the
seven improvisations Op.150, dedicated
to Gigout. Vierne’s Impromptu is a scherzo
piece that asks for sort of the fluidity
associated with pianistic technique
and blended successfully with the organ
colors. Clair de Lune is dedicated to
the American organ-builder Ernest Skinner
and presents a nice vocal melody. The
Divertissement is a fluid Allegro dedicated
to Joseph Bonnet, organist and composer
and the Carillon de Longpont is the
‘earliest of several bell pieces by
Vierne, based on the chime of the bells
of the chapel at the Chateau of Longpont’.
The pieces contained in Op.31 are marked
for ‘organ or harmonium’ but there is
a given organ registration for manuals
and pedal. The Triptyque is dedicated
to another significant French composer,
Maurice Duruflé with each of
the three pieces thematically independent.
Gigout’s Toccata in B minor can stand
among similar compositions by Widor
or Boellmann. The Scherzo, from the
same collection of Ten pieces, is more
picturesque. The Grand Choeur Dialogue
is a piece that produces the effect
of two organs in antiphonal conversation.
The recorded sound
is well balanced and extremely detailed
in spite of the big acoustics of the
cathedral and its four minute reverberation.
As a result Bate offers the listener
a kaleidoscope of warm sounds and color.
All the works are performed with confidence
and virtuosic precision. The shaping
is well handled with all necessary breathing
and musicality. What is extremely impressive
in this CD is the control of rhythm
and tempos giving the feeling of an
orchestra playing. Thus the symphonic
character of some of the pieces comes
out perfectly. The sound is fresh although
these recordings date from the early
1980s. It is hugely enjoyable and highly
recommended.
Christina Antoniadou
Jennifer Bate (Organ)