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> Olivier Latry "Midnight at Notre-Dame - Organ Transcriptions", SACD

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post 2/09/2009, 21:22
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Olivier Latry "Midnight at Notre-Dame - Organ Transcriptions", SACD

transcriptions pour orgue

Olivier Latry "Midnight at Notre-Dame - Organ Transcriptions" , SACD

Гибридный SACD 5.1

Genre: Classical – Organ


Total Time [60’51]

  1. Sinfonia from Cantata BWV 29 [4'29]
    "Wir danken dir, Gott, wir danken dir"
    Transcription: Marcel Dupré (1886-1971)

  2. Chorale "Jesus bleibet meine Freude" [4'18]
    from Cantata BWV 147
    "Jesus Joy of Man's Desiring"
    "Jésus, que ma joie demeure"
    Transcr.: Maurice Duruflé (1902-1986)

    Adagio & Fugue in C minor, K. 546 [8'27]
    c-moll • en ut mineur
  3. Adagio [3'37]
  4. Fugue [4'50]
    Transcr.: Jean Guillou (*1930)

    RICHARD WAGNER (1813-1883)
  5. "Tannhäuser": Pilgrims' Chorus [8'51]
    Pilgerchor • Chœur des pèlerins
    Transcr.: Franz Liszt (1811-1886)

    HECTOR BERLIOZ (1803-1869)
  6. "La Damnation de Faust": Marche hongroise [5'32]
    Hungarian March • Ungarischer Marsch
    Transcr.: Henri Busser (1872-1973)

    SERGEI RACHMANINOV (1873-1943)
  7. Prélude op. 3 no. 2 [4'57]
    Transcr: Louis Vierne (1870-1937)

    SERGE PROKOFIEV (1891-1953)
  8. Toccata op. 11 [4'41]
    Transcr: Jean Guillou

  9. Chorale "Ertöf uns durch dein' Güte" [3'54]
    from Cantata BWV 22
    "Mortify Us through Your Goodness"
    "Mortifie-nous par ta bonté"
    Transcr: Maurice Duruflé

  10. Chaconne from the Partita BWV 1004 for Solo Violin [15'42]
    Transcr: Henri Messerer (1838-1923)

Recording: Paris, Cathédrale Notre-Dame, 11 & 12/2003
Produced by Sid McLauchlan
Tonmeister (Balance Engineer): Andrew Wedman
Editing: Ingmar Haas
New surround mix: Andrew Wedman
Recorded, edited and mastered by Emil Berliner Studios

Deutsche Grammophon / Universal Music (00289 474 8162, 0 28947 48162 1), 2004
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post 2/09/2009, 21:33
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Цитата( Буклет )

The famous organ of Notre-Dame de Paris is a brilliantly colourful instrument which in the course of numerous overhauls has acquired a versatility allowing it to encompass every style. It was completely rebuilt between 1863 and 1868 by the visionary organ builder Aristide Cavaillé-Coll, who installed five manuals and 86 stops, and in 1932 a rich palette of neoclassical colours was added. Between 1963 and 1971 Pierre Cochereau further extended the instrument's possibilities and replaced the old mechanical action with a faster electro-pneumatic action. Finally, in 1992, computer technology increased yet further the organ's resources by making its 110 stops completely independent.

None of these changes, however, affected the instrument's soul, which is still essentially that of a Romantic, symphonic organ reflecting an aesthetic in which the spirit precedes the letter. And the spirit blows where it wishes, especially the spirit of creativity. Although the present programme is given over exclusively to transcriptions, these are not mere adaptations intended for virtuosos. Rather they are arrangements of vocal, orchestral or piano pieces by true creative artists who, while also being performers, are composers in their own right - composers whose experience has been illuminated by their contact with these works on which they have lavished their creative imagination.

Every organ transcription requires the arranger to rethink the original score. Even though listeners may have the impression that the organ can play anything, each of its manuals has a compass of only four and a half octaves (the piano by contrast has more than seven octaves at its disposal). As a result the pedal-board has to be used for the lower register and, more generally, the possibilities of registration have to be explored, in other words, the mixture of different stops distributed over the various manuals. Although no two organs are alike, the transcriptions that are heard here are in principle conceived for an instrument with three manuals and pedal-board, the few indications concerning nuance and registration remaining essentially no more than suggestions. It is left to the organist and the means at his disposal to rediscover what the arranger wanted to achieve and, above all, to establish this through the details of the transcription. One could say that all that remains of the original composition are the idea and form. The arranger has fixed these in black and white within a new perspective, and it is now up to the interpreter to breathe new life into them by means of colour and movement.

Transcribed by Marcel Dupré (1886-1971), the Sinfonia from Bach's Cantata 29 itself started life as a transcription, based, as it is, on the Prelude from his Partita in E major for unaccompanied violin. Dupré, whose staggering virtuosity has been compared to that of Liszt, was the incumbent of another famous Paris organ by Cavaillé-Coll, that of Saint-Sulpice. The mere handful of indications concerning registration provide the performer with a lead that needs to be explored rather than seen as limiting. Although the Notre-Dame organ might tempt the performer into responding with a neo-Baroque pastiche, the creative alternative suggested by Dupré for a work full of brio and spirit discourages this kind of response.

Maurice Duruflé (1902-1986) was Dupré's assistant at the Paris Conservatoire and deputized for his teacher Louis Vierne (1870-1937) at Notre-Dame. Although he wrote very little, it invariably revealed great care. Of all the transcriptions of the chorale Jesus, Joy of Man's Desiring from Cantata 147, his is undoubtedly the most faithful to the original and, as such, reflects the somewhat austere spirit of the 1940s. Olivier Latry has taken great care to respect a style characterized by legato playing and by its use of contrast between the different departments.

Jean Guillou was born in 1930 and thus belongs to a later generation. Unlike Duruflé, he very quickly distinguished himself by his love of colour. The organ at Saint-Eustache, where he has been organist since 1963, lends itself to this approach, upon which he himself has built. In spite of this, his transcription of Mozart's Adagio and Fugue K. 546 indicates only changes of manual, so that nuances and registration remain implicit. The pedal part is more characteristic of Guillou's playing, but the colours are Olivier Latry's own. Mozart wrote the Fugue for two pianos in 1783 but added the preceding Adagio in 1788 when he transcribed the piece for string quartet. In its guise as an organ transcription the work has acquired a different weight, bound up with the way in which the sound is produced. At the same time it has taken on a different significance, tending to bring it closer to the Masonic Funeral Music K. 477, in which the winds play such an important role.

Liszt's transcription of the Pilgrims' Chorus from Tannhäuser takes over from Wagner's original the theatrical effect of a crescendo and diminuendo evoking the approach and subsequent disappearance of the band of pilgrims, much as the spectator might see and hear them in the opera house. But in the final section the transcriber explores new worlds of sound. Liszt thought highly of the new resources of Cavaillé-Coll's organs, not least because they tended in the same direction as he himself was going in his exploration of the piano's orchestral qualities. He gives free rein to the interpreter to choose an appropriate course between voice and orchestra, theatricality and religiosity.

It was Liszt who, prior to Berlioz's departure for Austro-Hungary, entrusted his French colleague with a piano transcription of the Râkôczy March, adding that he might find it useful. In Prague, Berlioz orchestrated this popular number and gave it the unexpected form of a vast crescendo, later introducing it into La Damnation de Faust under the title Marche hongroise. The present transcription is the work of Henri Busser (1872-1973), who was familiar with Cavaillé-Coll's instrument at Saint-Cloud. Containing very few performance markings, it reveals something of the bravura of Louis Lefébure-Wély (1817-1869), a composer whose works abound in picturesque effects, seeming to use the instrument in ways for which it was not intended, while in fact serving it after their own fashion.

A pupil of César Franck and Charles-Marie Widor, Louis Vierne was organist at Notre-Dame from 1900 to 1937, dying in its organ loft while giving his 1750th recital. For his transcription of Rachmaninov's Prelude op. 3 no. 2, he includes precise details of the registration. Olivier Latry has chosen to go a step further and to take advantage of the instrument's sombre colouring by using the 8' foundation stops to bring out the cantabile line.

Guillou's virtuoso transcription of Prokofiev's Toccata for piano is very close in style to his own Toccata for organ. It gives total freedom to the performer. "I had tremendous fun 'orchestrating' Guillou," recalls Olivier Latry, "and for these five minutes I spent a good ten hours looking for registrations that ensure that the music remains faithful to the organ."

Like Duruflé's other transcription, the chorale Ertöt' uns durch dein' Güte (Mortify Us Through Your Goodness) from Cantata 22 opts by contrast for an "evangelical" simplicity, with the vocal line entrusted to the Cromorne and the ornamented counterpoint to the flue stops. It is difficult to imagine a clearer approach.

The Chaconne from Bach's D minor Partita BWV 1004 is a favourite work among violinists and has long fascinated composer-pianists: Brahms transcribed it for the left hand, Busoni for two hands. Henri Messerer (1838-1923) was the incumbent of Cavaillé-Coll's instrument at Saint-Charles in Marseilles, and although he may have been less famous than Brahms and Busoni, his 1896 transcription for organ is the most faithful and, with its handful of performance markings and indications as to registration, the most inventive of all. This at least is the view of Olivier Latry who, bearing in mind the resources of his own instrument, has not hesitated to clarify a number of passages in Messerer's transcription, while remaining within the parameters of the prism through which Messerer wanted us to hear Bach's work: profound, limpid and imposing.

Gérard Condé
(Translation: Stewart Spencer)

Начнем с органа. Большой орган – мягкое слово, больше сотни регистров, пять мануалов и 2 «педуала». О зале Собора Парижской богоматери вроде как бессмысленно говорить. Звучание, оно зависит, как микрофоны поставить. Ставили где-то вблизи инструмента. Большая часть регистров звучит спереди-сверху, другая часть реверберациями уходит наверх, басы отдаются по бокам.
По музыке. Это всё переложения на орган разных авторов разными авторами. Кантаты Баха в переложении Депре звучат как родные баховские по стилю (все три). А вот на Моцарте (Гийу) орган захлебывается. Сначала Аллегро представлено в стиле Барокко с изрядной помпезностью, а затем Фуга, рожденная из двух ф-но с добавленными позже скрипками, она как слон в посудной лавке – совершенно неуклюжа, не Моцарт это. Но зато дальше: Лист из Тангейзерова Хора пилигримов Вагнера. Только из-за этой пьесы диск брать стоило. Знакомая простая мелодия с нарастанием и раскатами воздуха (уж мощи этому органу не занимать), а потом затихает и уходит в купола, туда вверх и там звучит в басах на педалях тихим-тихим рокотом – это такой тихий экстаз и нежная флейтовая кода. Ракоши-марш Берлиоза от Анри Бюссера, симпатичен, но иногда тяжеловесен, хотя и у самого Гектора не без жесткости. Вторая прелюдия Рахманинова на органе - чудо. Верне постарался. Первый голос в мягком диапазоне, а подпевают очень низкие басы с вибрациями вокруг (без саба слушать бессмысленно). Токкате Прокофьева на органе неуютно (опять Гийу), она подвижная, вся в стаккато, и если верхушечки удачны, то средний диапазон и ниже мажется. А на закуску Чакона из скрипичной Партиты от Мессерера. Еще про исполнение Фишер писал как органное. А вот теперь собственно сам орган. Смело вступив, орган смягчается, много сильнее скрипки, там страсть, ярость почти непрерывная, здесь же вроде как жалоба и сожаление, почти перетекающее в миролюбие. Бах так свои фуги часто представлял, но для партиты мягковато выглядит. Но с другой стороны как пианиссимо на органе звучит – оно теперь откуда-то спереди. В конце пузырь со страстью все же лопнет или даже скорее разверзнется. Уж Мессерер контраста добавил.

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