No. 308 of the ongoing ITYWLTMT series of audio montages, which can be found in our archives at https://archive.org/details/pcast308 |
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This week’s
Blog and Podcast contriybutes to this year’s Lenten Organ series with three
“Symphonies for Organ” by three French organ masters, teachers and composers: Marcel
Dupré, Louis Vierne and Charles-Marie Widor. The following
excerpts from
liner notes of a recording featuring the three intermingled composers
provide some insight”
In the
middle of the nineteenth century the sorry state of church music in Paris was a
source of bitter controversy. The passion for opera and ballet that dominated
the musical life of the city had become firmly entrenched even in the churches,
where organists deficient in both taste and technique gratified their
undiscriminating clergy and congregations with music that was either
sentimental or vulgar, or both.
But behind
the scenes, times were changing, and a bloodless revolution was being planned.
The mastermind was none other than the great organ-builder Aristide
Cavaillé-Coll, who built or rebuilt most of the organs of Paris (and many in
the provinces) during his long career, including La Madeleine (1846),
Saint-Sulpice (1862) and Notre-Dame (1868). In Northern Europe a true tradition
of organ-playing, centred round the music of Bach, still survived, and
Cavaillé-Coll arranged for two young Frenchmen to go to Brussels to learn this
tradition from the Belgian organist Lemmens. When the two protégés—Alexandre
Guilmant and, a few years later, Charles-Marie Widor—returned to Paris,
they had mastered a rational technique of organ-playing that placed them in a
different league from all their contemporaries. However, it seems to have been
Widor who made the greater impression.
After the
death of its titular organist, Lefébure-Wély, Widor was installed as titulaire
of Saint-Sulpice; Widor’s career at Saint-Sulpice was to last for sixty-four
years, during which he became a pillar of the musical establishment, serving
for thirty-seven years as a Professor at the Conservatoire and twenty as
Perpetual Secretary of the Académie des Beaux-Arts. When he retired in 1933, in
his ninetieth year, his place was taken by his disciple Marcel Dupré, who had
already been acting as his Assistant since 1906. Dupré remained at Saint-Sulpice
until the day of his death, on Sunday 30 May 1971, so between them these two
great organists covered an amazing span of 101 years.
Widor was a
cultivated all-round musician; a popular figure in the salons of Paris, he
wrote quantities of elegant and idiomatic chamber and piano music and songs,
not to mention symphonies, ballets and a number of operas. But his mission at
Saint-Sulpice was to establish a dignified style of choral and organ music
which would satisfy his own high standards without alienating the congregation.
The music must be monumental, as befitted the setting, and all picturesque
effects must be rigorously excluded. Between 1872 and 1880 he published six of
his ten pioneering Organ Symphonies, in which he made striking use of
the impressive resources at his disposal—its great Cavaillé-Collorgan.
Before the
young Dupré came on the scene, Widor had employed a number of other gifted
pupils as his Assistant, and the most notable of these was Louis Vierne, who
filled this role for eight years, from 1892 until 1900, when he entered and won
a competition for the post of Organist of the Cathedral of Notre-Dame. It was
here that he was to make his name, and here that he died at the console, in the
middle of a recital on 2 June 1937.
Hypersensitive,
almost blind, but highly talented, Vierne was already a student in the Organ
Class when Widor took his most promising pupil under his wing, and was amply
rewarded. Acting as his Assistant both at Saint-Sulpice and at the
Conservatoire, Vierne rapidly became a complete master of his art, combining
the musical inspiration he had absorbed from Franck with the technical mastery
he learnt from Widor, and passing them on to the next generation through his
own teaching.
Dupré was
the son of a distinguished organist, and his path in life was mapped out almost
from birth, for he was only three days old when the bearded figure of Alexandre
Guilmant peered into his cradle and pronounced: ‘He will be an organist.’
Acquainted from an early age with both Cavaillé-Coll (who called him ‘le petit
prodige’) and Widor, Dupré became the most gifted student of his generation. He
studied the organ with Guilmant and Vierne, and composition with Widor who,
having lost his first protégé, was to treat him like a son for the rest of his
life. Dupré was barely twenty years old when he suddenly found himself
Assistant at Saint-Sulpice, playing the organ that was to remain his greatest
joy until the day of his death.
The
organist featured on all three works is the Dutch organist, teacher and author
Ben van Oosten. A graduate of the Sweelinck Conservatory in Amsterdam, he
completed advanced studies in Paris with André Isoir and Daniel Roth. Whether
by geographical influence or artistic choice, he gravitated toward the French
Romantic Organ school of the 19th century that had its origins in the new
symphonic organs of Aristide Cavaillé-Coll. Van Oosten subsequently became one
of the greatest practitioners and interpreters of organ works from that era.
Among his recordings are the complete works of Widor, Vierne, and Dupré, as
well as the eight sonatas of Alexandre Guilmant and organ works of
Jacques-Nicolas Lemmens and Louis James Alfred Lefébure-Wély.
Among the
honors and awards he has received are the Preis der deutschen Schallplattenkritik
and the Diapason d'Or. In 1998, the French government awarded him the honorary
rank of Chevalier dans l'Ordre des Arts et des Lettres for his efforts in
reviving the French Romantic tradition.
I think you will love this music too
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