MARIE-CLAIRE ALAINPlays at Notre-Dame in Paris
The presence of Marie-Claire Alain at Notre-Dame de Paris was rare: only five recitals in all. Thus, the publication of these two accounts is all the more precious. The selection brought together on this disc illustrates the French organist’s unique ability for choosing in the palette of the Notre-Dame instrument the suitable sonority for each type of piece. Aurélie Decourt
GUILLOU PLAYS GUILLOUAt Notre-Dame in Paris
One remark to evoke the way we will have been able to hear, throughout this programme, the great organ of Notre-Dame de Paris sound. At the time, it was known for an amazing, fecund, symbiotic existence with its organist, Pierre Cochereau, openly in love with his alter ego, well known for being able to make it speak like no one else. Yet it is unquestionably a ‘Guillou’ organ that proudly speaks in many aspects over the course of nearly 80 minutes, changed into a kaleidoscope of sound, unusual in many regards. Should we be surprised? Surely not, if we dare compare this being of 8,000 voices with the greatest symphony orchestras capable of transforming themselves instantly and against their traditions, to the sole ends of bending to the often contradictory aesthetic desires of the greatest conductors. It is even thereby that we recognise them: unlimited resources, a strong identity, yet capable of adaptation or metamorphosis but without denial.
Chopin’s music remains indissociable from an instrument that he always considered his mediator, from the Rondo Op. 1, written in Warsaw in 1825, up to the Mazurka Op. 68 no. 4 dashed off on paper in 1849 in Paris’s Place Vendôme, shortly before his death at the age of thirty-nine. All exegetes have tried to approach the mystery of music that, in the lovely phrase of Vladimir Jankélévitch, ‘expresses the inexpressible ad infinitum’[...] The clarity of line, the transparency of the most complex chords, and the combinations of timbres prepared the way for Debussy and Scriabin, and even Messiaen. It has been said that Liszt was thinking of the orchestra when writing for the piano; Chopin, on the other hand, thought only of the keyboard of which he perceived the full human depth to the point of making it his sole source of inspiration. ‘To speak about Chopin’s music would imply, in a way, playing it together – and little matter whether the keyboard be made of dreams or ivory.’ (André Boucourechliev).
Michel Le Naour
DINU LIPATTI - SAMSON FRANÇOISIn Yvonne Lefébure’s harmonics...
Let us celebrate the light and night which cross when all wolves are grey, count down the days, reel off these passing years that tear from our artistic affection musicians who continue to live on in the conscience of musicians and the public. The sun is Dinu Lipatti playing with Herbert von Karajan the Mozart of the radiant Concerto in C major K. 461, a smiling Jupiter who emerges from the clouds to light the world. Night is Samson François in Prokofiev’s rare Piano Concerto No. 5, leaping about like a black panther and accompanied by Leonard Bernstein in New York, a city that was made for this pianist who so loved jazz and song and yet did not receive its blessing. The ties are there; let us unknot them.
COCHEREAURarities and Unpublished Recordings
Here we are not dealing with a simple repackaging of recordings previously released by Solstice even though a number of essential stages could not be missing from this chosen portrait. Above all, the music lover is invited to a complete reevaluation of the artist’s phonographic legacy: Pierre Cochereau, in all fidelity, henceforth escaping from the outsized but closed universe of his cathedral, without ceasing for an instant to be himself: the organist of Notre-Dame. Some 74% of the recordings are previously unreleased on disc and provide proof by music, repertoire and improvisation combined, that although Cochereau drew his manner and style most profoundly from Notre-Dame as much as from the continuity of a symphonist like Louis Vierne, his personality asserted itself elsewhere, in the unity of the musician and his own modernity.
JEANNE-MARIE DARRÉPlays Camille Saint-Saëns
Like that of other pianists of her generation, the name of Jeanne-Marie Darré has largely been forgotten. It was doubtless sometimes mocked by a few malicious tongues in search of sarcasm who saw her as the quintessence of a ‘certain French piano school’, outdated and dying – the appearance of the Russian school having, amongst other factors, hastened its decline. Marguerite Long, who was one of Jeanne-Marie Darré’s two principal teachers, would be in the front line of these attacks. Her pianism and teaching were reviled on the grounds of a technique that some deemed too exclusively digital, responsible for corporal stiffness and ‘typewriter playing’, overly mechanical and ill-adapted for legato. However, although Jeanne-Marie Darré was nurtured at this ‘school’, she managed not only to transcend its ‘limits’, but even more will have made its final splendour glow with rare incandescence.