Louis Vierne (1870-1937)
Complete Organ Symphonies Vols. 1&2
Réédition limitée des volumes 1 et 2 (épuisés depuis longtemps) en double Super Audio CD à l'occasion du quatre-vingtième anniversaire de Daniel Roth !
Daniel Roth
Paris, Eglise Saint Sulpice, Cavaillé-Coll organ
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| Louis Vierne (1870-1937) : |
| Symphonie No.1 ré mineur [op.14] |
| Symphonie No.2 mi mineur [op.20] |
| Symphonie No.3 fa dièse mineur [op.28] |
| Symphonie No.4 sol mineur [op.32] |
Daniel Roth, Orgue
Durée totale: 2:25 (h:m)
Booklet: 32p., Anglais Allemand Français
Numéro de catalogue AE 11231
EAN 4026798112318
Catégorie de produit: SACD
Date de sortie: 20/11/2022
info
Super Audio CD (SACD) Information
This 'Hybrid' Super Audio CD plays on all CD players and SACD players.
CD Audio: Stereo
SACD: Stereo High Resolution + Multichannel Surround High Resolution
Reviews on “Vierne: Complete Organ Symphonies Vols. 1&2”
Audiophile Audition John Sunier, September 10, 2010 :
This is the first volume of a proposed SACD series of all six organ symphonies by the last of the great romantic organist-composers of the last 19th and early 20th centuries in France.
Vierne carried the development of the organ symphony even further than his predecessors Franck and Widor had done. No other composer since has developed this style imitating the symphony orchestra any further; Messiaen went in an entirely different direction. Part of Vierne’s advancements were due to the variety of possibilities offered him by the complex Cavaillé-Coll pipe organs designed for this type of music in the second half of the 19th century. (The Registration/Composition of this particular organ - dating originally from 1862 - is listed in the back of the note booklet.)
Even though Vierne was almost blind most of his life, his earlier years were happy for him. He started on his Symphony No. 1 in 1898 and was married the next year in Saint-Sulpice. The work shows the strong influence of his teacher Widor, but Vierne inserts more chromaticism in some passages than found in Widor’s organ symphonies. The general feeling of the work is more of a suite than a symphony, and all with an optimistic tenor. The work’s Finale changes from D minor to Major and is one of his most-played pieces - excellent for church postludes. Its main theme appears in the pedals.
The Second Symphony is in some ways less free and improvisatory than the First, and makes use of Franck’s cyclic structure. The first movement is in pure sonata-allegro form. The work’s Choral movement is very similar to a Choral movement in Widor’s Symphony No. 7. It is followed by Scherzo and Cantabile movements, and the work closes with an E Major Final, which extensively develops two main themes.
Daniel Roth is a superb organist and Aeolus has perfectly captured in hi-res surround the rich sounds conjured up between Vierne’s works and the magnificent pipe organ in this historic space. I have some of these organ symphonies in binaural recordings on standard CDs, but the hi-res 5-channel surround on this SACD clearly surpasses even the added spatial recreation of those recordings on headphones.
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The organ , :
This disc is an unmitigated joy from beginning to end. The Clicquot/Cavaille-Coll organ in Saint-Sulpice, Paris, is without doubt one of the most characterful and musical instruments anywhere in the world - with whole-hearted flutes harmoniques, zesty strings and a wonderfully rich and full fortissimo that can only compare to going flat out along the motorway in a vintage Bentley Daniel Roth is in superb form throughout and makes both these works sound anew.
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Fanfare John E. Roos, :
Listening to the organ works of Louis Vierne reminds me of the challenge of trying to capture dynamite in a bottle. Vierne has written music that can be explosive, almost larger than life. It takes every pipe of the mighty organ of Saint-Sulpice in Paris to capture the sound that emerged from Vierne's imagination. Even in a recording as fine as this, we can only approximate the impact of these thunderous sounds echoing through the cathedral's expanse, rattling the windows, shaking the walls.
Daniel Roth provides a welcome addition to the catalog. Here is a master organist, tackling two of the masterpieces of the organ literature. One sits back, reveling in the tonal splendor. In the first symphony, Roth allows Vierne's menacing opening movement to build to a massive climax (although both Marie-Clare Alain and Daniel Chorzempa are slightly more menacing in this music). Roth's second-movement Fugue builds to a magnificent conclusion. The third-movement Pastorale is appropriately peaceful while his Allegro vivace is fleet and electric and the fifth-movement Andante is nicely meditative. In the Final, Roth literally lets out all the stops. We close our eyes and almost imagine sitting in Saint-Sulpice, the sound sweeping over us. In my rational moments, I realized that there was a slightly excessive reverberation that somewhat mars this movement. Yet, in the end, this did not matter. In his recording, Gunther Kaunzinger provides extra drama, aided by his quick tempos. (His recording of this symphony is 10 minutes shorter than Roth). But Roth brilliantly plays this amazing music.
If anything, Roth is even more impressive in the Second Symphony, which was composed in 1902, four years after the First Symphony. We can sense how, in those four years, Vierne had gained in maturity. Roth builds the second movement Choral to a mighty climax and then transports us with songlike flutes in the third movement Scherzo. We feel the flowing of melodic currents throughout the fourth-movement Cantabile, leading into the mighty Final. I really like Larry's recording of this symphony. At the same time, it is hard not to be caught up by Kanzinger's faster tempos and more intense approach. But overall, Roth won me over.
The booklet contains excellent notes by Richard Corser. I look forward to additional volumes in this series. Highly recommended. John E. Roos
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Fono Forum Christoph Vratz, :
Die Gestaltung der Beihefte beim Label Aeolus ist durchweg beispielhaft, ebenso bei der ersten Folge der Einspielung sämtlicher Vierne-Sinfonien mit Daniel Roth an seiner Heimatorgel von St. Sulpice in Paris. Eine Aufnahme wie aus dem siebten musikalischen Himmel: Roth spielt mit einer Souveränität, die nie den Hauch von Routine kennt. Mal taucht er Vierne in milde Glut und in impressionistisch verschwimmende dunkle Klangfarben, mal begegnet er ihm mit furchtloser Strenge. Er registriert so, als sei die Orgel tatsächlich ein besserer Orchesterersatz. Der Notentext dient ihm als Folie für gleichermaßen poetisches wie schillerndes Erzählen.
Christoph Vratz
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BBC 3 Record review Anna Lapwood, February 4, 2023 :
I adore the french Cavaillé-Coll instruments. Any organist will remember playing a Cavaillé-Coll for the first time. It brings the music to life in a whole new way. Daniel Roth is organist at Saint-Sulpice which is where Vierne was assistant organist a 130 years earlier. He's playing this music on the organ that Vierne would have played. It is incredibly exciting. We have such a wealth of coulour, we have these firy reeds, we have these beautiful open flutes, we have fizzy strings. I am going to play you the end of the finale from the 1st symphony, argueably one of his most famous works for organ. The reason I want you to hear this, is because the tension builds up, and up and up, and the very very very end of the entire thing is as if the whole world has fallen apart. You feel the entire space, you feel like you can see the building as you are listening. Yes, occasionally it's a tiny bit muddy, but it's such a huge acoustic, but that is what it is like to sit there and listen to the instrument. I think this is one of the interesting things when we are talking about organ recordings. You are always having to balance atmosphere versus clarity. And the reality is that if you're sitting in a cavernous space you are not going to get total clarity the entire time and that's okay!
Listen to the podcast here (starting from 56 min 40 sec)
