The French label Solstice have done much to preserve the legacy of Pierre
Cochereau (1924-1984). They’ve released several fine volumes of the
organist’s recordings over the past few years. I was first awakened to his
artistry with an 8-CD set of the complete organ works of Louis Vierne,
completed by the American, George C. Baker and released by Solstice in 1994
(SOCD 911/8 also
SOCD 277-9). Cochereau’s discographical legacy, with some rare
exceptions, was recorded in Notre Dame, whilst he was organist there from
1955 until 1984.
After a brief dalliance with the violin and piano, Cochereau settled for
the organ as his instrument of choice. At the Paris Conservatoire his
teachers were André Fleury and Marcel Dupré who referred to his student as a
"phenomenon without equal in the history of the contemporary
organ". He also studied harmony with Maurice Duruflé. Cochereau forged
a three-pronged career as organist, composer and teacher. His compositional
skills were directed mainly towards improvisation, within and at the end of
services, and ‘Cochereau: The Art of Improvisation’ (Solstice) (FYCD 059)
was produced, not only to display his talents as an improviser, but to
showcase the full glories of the Cavaillé-Coll Organ of Notre Dame,
Paris.
Generally speaking, Cochereau employs an adventurous choice of
registrations in these performances, which reveals the myriad colours and
dynamic range of this princely instrument. For me, it is the Mendelssohn
Prelude and Fugue in C minor, Op. 37/1 which is the highlight. Mendelssohn
writes well for the organ, and this work displays a wealth of ingenuity and
invention, clearly showing the influence of J.S. Bach, the composer he most
admired. At the end of the fugue, Cochereau builds up to a breathtaking
climax, guaranteed to knock you sideways.
Disappointing is the opening of the Gigout Toccata, which sounds as though
it was recorded in a wind tunnel. The unusual choice of registrations for
the opening does not seem to match the character of the music. Things
improve, though, as the piece progresses.
Less than two weeks before the Duruflé Prelude and Fugue was aired,
another live performance of the piece was recorded by Marie-Madeleine
Duruflé on the same organ in Notre Dame. This was released by Solstice and
reviewed by me a few months ago. It is interesting to compare
the two readings. Marie-Madeleine Duruflé’s choice of
registrations allows greater clarity, with her more refined
articulation, especially in the opening few minutes. I find the
textures in Cochereau’s performance muddied. She is also
marginally brisker.
In contrast to the dramatic pieces Cochereau plays, we have the peace and
tranquillity which permeates Vierne’s Clair de lune. The slow meditative
quality of Messiaen’s Le Banquet Céleste (Heavenly Feast) can make the piece
sound monotonous. Not so in Cochereau’s hands, where he invests it with an
other-worldly quality, transfixing the listener.
The variety and diversity of what is on offer here make this a compelling
release, enabling us to savour the full scope and personality of the Notre
Dame’s Cavaillé-Coll instrument. Cochereau’s tempi in the live situation
are, on the whole, more animated than in his studio recordings. Sound
quality is for the most part ideal, and very little audience noise is
detected, only amounting to a little rustling.
Stephen Greenbank
