Document

  1997
    September 1997
        Instrumental
                Alain Organ Works, Volumes 1 and 2.

Alain Organ Works, Volumes 1 and 2. Eric Lebrun (org).

Naxos (Super budget price) (CD) 8 553632/3 (two discs, oas: 64 and 66 minutes: DDD). Played on the organ of the Church of Saint-Antoine des Quinze-Vingts, Paris.

8 553632: Litanies. Petite piece. Le jardin suspendu. Deuxieme fantaisie. Variations sur un theme de Clement Janequin. Deux danses a Agni Yavishta. Deux preludes profanes. Choral cistercian pour un elevation. Climat. Monodie. Ballade en mode phrygien. Choral phrygien. Suite. 8 553633: Trois danses. Intermezzo. Variations sur “Lucis creator”. Berceuse. Grave. Lamento. Premiere fantaisie. Prelude et Fugue. Choral dorien. Aria. Postlude pour l’office de Complies.

The Naxos “Organ Encyclopaedia” could turn out to be one of the most important organ recording projects since the advent of the CD. A systematic survey of the repertoire, provided it is planned intelligently, should produce a valuable and worthwhile resource. Certainly its potential is demonstrated by this pair of discs for, despite the familiarity of much of Jehan Alain’s organ music, this is the first time anyone has attempted a comprehensive survey. Whether it’s the weirdly sombre Lamento, the captivating Intermezzo, evoking the movement of a spinning-wheel, the pseudo-archaic Variations sur un theme de Clement Janequin or the dramatically fervent Litanies, to have it all brought together under one roof, as it were, allows us to revel in that magical mix of mysticism, melancholy and modality which makes Alain’s voice so distinctive.

This splendid Cavaille-Coll organ, set in a richly atmospheric acoustic, seems the perfect vehicle for Alain’s music with its kaleidoscopic use of subtle colours and effects. It possesses glorious stops and seems fully equipped to deal with everything Alain’s music demands of it. What a shame, then, that the recording itself misses the mark. An indistinct focus blurs much of the detail, while there just isn’t enough of the church’s ambience to compensate for this lack of clarity.

There again Eric Lebrun is guilty of some pretty indistinct articulation himself, not least in a dreadful account of Litanies. I have to admit that after hearing this, taken at breakneck speed and with heart-stopping lurches from section to section, I almost took the listening process no further. But I’m glad I persevered, for much of his playing is outstanding. The best-known works verge on the controversial (I find Le jardin suspendu, for example, superficial), but in the rarely heard Suite he produces playing of considerable conviction and magnetism. And with a deeply moving account of the Postlude pour l’office de Complies, which seems to hover on the very brink of eternity, he more than justifies Naxos’s faith in him and in this important recording project. This valuable addition to the catalogue deserves a place on the shelves of all organ music devotees.

MR



		The Naxos “Organ Encyclopaedia” could turn out to be one of the most important organ recording projects since the advent of the CD. A systematic survey of the repertoire, provided it is planned intelligently, should produce a valuable and worthwhile resource. Certainly its potential is demonstrated by this pair of discs for, despite the familiarity of much of Jehan Alain’s organ music, this is the first time anyone has attempted a comprehensive survey. Whether it’s the weirdly sombre Lamento, the captivating Intermezzo, evoking the movement of a spinning-wheel, the pseudo-archaic Variations sur un theme de Clement Janequin or the dramatically fervent Litanies, to have it all brought together under one roof, as it were, allows us to revel in that magical mix of mysticism, melancholy and modality which makes Alain’s voice so distinctive.



		This splendid Cavaille-Coll organ, set in a richly atmospheric acoustic, seems the perfect vehicle for Alain’s music with its kaleidoscopic use of subtle colours and effects. It possesses glorious stops and seems fully equipped to deal with everything Alain’s music demands of it. What a shame, then, that the recording itself misses the mark. An indistinct focus blurs much of the detail, while there just isn’t enough of the church’s ambience to compensate for this lack of clarity.



		There again Eric Lebrun is guilty of some pretty indistinct articulation himself, not least in a dreadful account of Litanies. I have to admit that after hearing this, taken at breakneck speed and with heart-stopping lurches from section to section, I almost took the listening process no further. But I’m glad I persevered, for much of his playing is outstanding. The best-known works verge on the controversial (I find Le jardin suspendu, for example, superficial), but in the rarely heard Suite he produces playing of considerable conviction and magnetism. And with a deeply moving account of the Postlude pour l’office de Complies, which seems to hover on the very brink of eternity, he more than justifies Naxos’s faith in him and in this important recording project. This valuable addition to the catalogue deserves a place on the shelves of all organ music devotees.