One of the most grown-up review sites around

54,416 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

Troubadisc Weinberg- TROCD01450

All Troubadisc reviews

FOGHORN Classics

Brahms String Quartets

All Foghorn Reviews

All HDTT reviews

Songs to Harp from
the Old and New World

all Nimbus reviews

all tudor reviews

Follow us on Twitter

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger


Advertising on

Donate and keep us afloat


New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews

all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews

All APR reviews

Lyrita recordings
All Lyrita Reviews


Wyastone New Releases
Obtain 10% discount



CD: AmazonUK AmazonUS

Hommage à Cochereau
David BRIGGS (b. 1962)
Improvisation sur ‘Alouette, gentille alouette’ [16:47]
Thierry ESCAICH (b. 1965)
Suite improvisée [17:29]
Loïc MALLIÉ (b. 1947)
Suite improvisée sur le nom de Pierre Cochereau [22:02]
George C. BAKER (b. 1951)
Ricercar on ‘Nun komm, der Heiden Heiland’ (2004) [3:21]
Berceuse-Paraphrase (1992) [6:37]
Toccata-Gigue on the Sussex Carol (2008) [5:03]
George Baker, David Briggs, Thierry Eschaich, Loïc Mallié (organ)
rec. 17 October 2008, Église Saint-Vincent de Roquevaire (Briggs); 9 December 2008, Église Saint-Roch de Paris (Escaich); 8 February 2009, Salle Xavier Darasse du CNSMD de Lyon (Mallié); 7 December 2008, Église Saint-Sulpice de Paris (Baker)
SOLSTICE SOCD252 [71:25]
Experience Classicsonline

This is an enterprising project: four organists celebrating the improvisatory skills of French keyboard legend Pierre Cochereau (1924-1984). A noted pedagogue and composer, Cochereau was appointed titular organist of Notre-Dame de Paris in 1955, where he stayed until his death in 1984. I first heard him play in the von Karajan/DG version of Saint-Saëns’ Third Symphony, where the early digital technology made the organ sound more like a Harley-Davidson than a Cavaillé-Coll. Thankfully, there are no such horrors on this Solstice disc, with all four instruments sympathetically recorded.

By definition improvisations are one-offs, but the advent of recording has changed all that. Indeed, the British organist David Briggs has transcribed 12 of Cochereau’s improvisations from tape and presented them as a set of ‘Cochereau Transcriptions’. For this disc Briggs has chosen to improvise on the French children’s tune ‘Alouette, gentille Alouette’, which he plays on the organ of Église Saint-Vincent de Roquevaire. This 18th-century church, set in Pagnol country, is especially appropriate as it’s also home to Cochereau’s ‘house organ’. The instrument has a lovely sparkle in its upper reaches, while lower down it’s as full-bodied as a Côtes de Provence red ’97. It’s an intricate and consistently inventive performance, every small detail and flourish well caught by the engineers.

So, a good start, but rather different in style to the more cerebral Suite improvisé by the French organist and composer Thierry Escaich. I first came across his music on a disc of pieces for trumpet and organ - review - where I much admired his ‘highly mobile’ Evocation II. As the winner of several prestigious prizes and a professor at the Paris Conservatoire, it’s no surprise that this five-movement work - played on the organ of Église Saint-Roch de Paris - is virtuosic in the extreme. The first movement is certainly monumental, a veritable cliff of sound that Escaich then proceeds to scale with ease. There is an internal tension and rhythmic drive here that I remember from Evocation II.

The bright, upfront character of this instrument suits the music rather well, but in the second movement the organ is made to sound remarkably like a squeezebox, with plenty of deft foot- and finger-work involved. Only in the third movement does Escaich really make use of the organ’s pedals and lower registers. It’s dark, brooding stuff, with an easily discernible pulse and trumpet-like flourishes, the fourth movement more plaintive in style but no less engaging for that. The recording - like the playing - is direct and unfussy, the reedy pipes especially pleasing. That unmistakable pulse returns in the final movement where, after shimmying up the rock-face Escaich presents us with a breathtaking view from the top. A thrilling improvisation, dashed off with Gallic flair.

Unlike Briggs and Escaich, who never actually met Cochereau, Loïc Mallié knew and performed with him. Of all four organists pictured in the CD booklet Mallié looks the least forbidding. Indeed, his ruddy complexion and an easy smile don’t prepare you for his devilishly clever Suite improvisée sur le nom de Pierre Cochereau - notation shown in the booklet. The first movement, Mélodies, is quirky, with a preponderance of unusual colours. The second, Coup de vent, presents swirling keyboard figures over breathy, conch-like pedals, while the bird-like calls and note clusters of the third, Couleurs, are surely a hommage to Mallié’s one-time teacher, Olivier Messiaen. Later, the hypnotic pedals seem like Gothic pillars, the great painted windows evoked in music that pulses with light and colour. As for the final movement, Joie, it has all the cumulative majesty one might expect from Messiaen at his most ecstatic.

One of the spin-offs of this collection is that it allows one to hear a number of very different organs. The one that intrigues me most is that played by Mallié, a 1993 Grenzing installed in the Salle Xavier at the Lyon Conservatoire of Music and Dance. It has a tonal character quite unlike anything I’ve heard before; it’s rather ‘tubby’ and probably unsuitable for really large-scale pieces, but I’d love to hear it again, especially in early Franck.

The Texan George Baker is the odd one out, as he has chosen not to improvise but to programme three pieces he composed earlier. He plays the organ of Saint-Sulpice, Paris. Immortalised - if that’s the right word - in Dan Brown’s Grail-chasing thriller The Da Vinci Code, this magnificent 17th-century church has an equally fine Cavaillé-Coll, which sounds suitably imperious in Baker’s Ricercar. Based on the Lutheran chorale ‘Nun komm, der Heiden Heiland’ (Now come, Saviour of the Gentiles), this stirring music leaves one in no doubt as to the size and splendour of this great space. Thankfully, reverberation is well controlled, and in the gentle Berceuse-Paraphrase Baker manages to tame the beast and come up with music of surprising intimacy. Indeed, the organ’s luminous upper registers produce the loveliest sounds imaginable. As for the final piece, a rousing Toccata-Gigue, this will surely warm the hearts of organ buffs everywhere.

Anyone remotely interested in the improviser’s art should buy this recording. The CD is presented in a smart double gatefold case with the booklet tucked inside. Artist biographies would have been useful, as would details of the organs used. Minor quibbles, really, and not nearly enough to dampen my enthusiasm for this new disc.

Dan Morgan  



Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews


      Composer surveys
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site


Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure



Bulletin Board

Give your opinions or seek answers

Pat and present

Helpers invited!

How Did I Miss That?

Currently suspended but there are a lot there with sound clips

Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Other links
Web News sites etc

A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools

Return to Review Index

Untitled Document

Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.