This disc comes in
Naxos’s burgeoning series ‘The Organ
Encyclopedia’. Each recording is performed
by a different organist on a different
organ. The complete recording of Dupré’s
organ works has been under way now for
almost a decade.
Dupré was born
in Rouen in 1886 and became organist
at the great church of St. Sulpice where
he replaced Widor; a significant point
this to which I shall return. He was
known primarily, especially in his early
days, as an outstanding performer, secondly
as an extraordinarily gifted improviser
and only thirdly as a composer, although
it is the latter skill which now has
more meaning for us.
Improvisation is the
key to ‘Zephyrs’ which is the first
piece on this CD. As with Bach and the
Goldberg variations this five minute
piece came about as an improvisation
on a theme. The theme was given to Dupré
by no less a personality than Leopold
Stokowski and the moment was captured
on tape [no date given in the booklet].
It is a superbly constructed little
piece, including a short fugue. What
incredibly painstaking patience and
skill has gone into its reconstruction
by Rollin Smith. Was it worth it? Certainly
yes. This is a rare opportunity to hear
what these Dupré improvisations
were like after Mass way back in the
1920s and 1930s. This is a skill which
although not non-existent is fast dying
out. Oddly enough this piece sounds
nothing like anything else on the CD
and as I am new to this series I cannot
say if it is unique in Dupré’s
vast output. It is, in any event, a
very attractive start to this nicely
balanced and well constructed programme.
The two major works
here, the 2nd Symphony and
‘Visions’, are the reasons for investing
in this recording. Let me say immediately
how wonderfully played they are. George
Baker, himself a composer, is so impressive
and has a real insight into this rarely
encountered music. His biography is
given in the booklet.
The accompanying note
by the prolific Keith Anderson tells
us that the 2nd Symphony’s
first movement reaches "a massively
orchestrated finale". An important
points this. One might ask: ‘what is
the difference between an organ sonata
and an organ symphony?’ No, this is
not a conundrum. Dupré inherited
the mantle of Widor the organ symphonist
par excellence. From him he learnt
that the organ symphony must be ‘orchestrated’.
Subjects must be contrasted with registrations
clearly different to allow the material
to be shown in its best light. Ideas
will be coloured more carefully and
the material itself is more dramatic
and powerful. If these premises are
accepted then this work has every right
to be called a ‘symphony’. The opening
Allegro Agitato is especially
orchestral. I myself felt the itch to
get the music and immediately score
it for large orchestra. It is an impressive
work although the third movement is
possibly a little too light-weight at
times. Certainly its ‘chugging’ start
is a surprise. It does however build
towards an impressive ending.
At the back of the
booklet Naxos provide the specification
for the organ. It is obviously a massive
instrument with a large choice of stops
especially on the pedal board. There
are also what are called ‘accessories’
like a transposer and a piston sequencer.
The front of the booklet has a Parisian
Virgin and child sculptor. These bear
little relevance to the music.
For anyone interested
in organ design there is no picture
of the organ. This is a pity. I went
onto the website of the Southern University
of Dallas but failed to find a photograph
there. If anyone can help me it would
be most welcome. Such a photograph would
be particularly illuminating with regard
to the marvellous and extraordinary
‘Vision’ Op. 44. This highly original
work dates from 1948. It is another
wonderfully evocative and superbly ‘orchestrated’
work. Its sub-title ‘And the light shines
in the darkness’ reflects the ‘plot’
of the piece: Dupré begins with
curious deeply low rumblings in the
pedal. These create an almost childlike
picture of Grieg’s trolls emerging from
their subterranean hovels. These noises
crystallize into an accompaniment supporting
a weird tune on the reeds, before disappearing
into an aimless musical void of meanderings
and practically atonal polyphony. Gradually
cascades of notes begin to appear so
that at approximately 10’30" the
first climax is achieved with a sort
of chorale in the pedal and what is
now toccata-like figuration in the hands.
Still the key is ambiguous. A light
begins to shine in the darkness. I won’t
go on, but you get the idea. The further
sub-title ‘Poème Symphonique’
is an accurate description. Its seventeen
minutes went by very quickly.
The rest of the CD
is made up of shorter, functional pieces,
based on plainchant and choral melodies.
It is amazing to think that Dupré
went to the trouble to compose seventy-nine
chorale preludes presented here in two
groups. They are mostly very short and
inconsequential. The Op. 48 Antiphons
however are more interesting if still
functional. Although not meant as didactic
exercises it is illuminating to hear
the various ways Dupré treats
these Christmas-tide (including Candle
Mass) plainsongs. In one there is the
tune in canon between the hands (‘Durch
Adam’s Fall’); in another the melody
is, as was common in earlier times,
in the tenor (‘Ich hab’ mein Sach Gott’).
In another it is elaborated in the soprano
part (‘Herr Jesu Christ’). There are
other examples.
So to sum up I can
say that there is enough worthwhile
music on this CD to make it worth its
shelf space. I shall now make it my
business to investigate some of the
previous volumes.
Gary Higginson
George Baker (organ) 
