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Reviews for
GMCD 7182 - Works for Organ and Orchestra
WIDOR - JONGEN - PARKER
Orgel & Orchester
Widor, Jongen, Parker, Gounod, Dubois, Gigout, Guilmant, Saint-Saëns, Dupré
Guild: GMCD 7182, 7185, 7187, 7195. 4 CD’s
Franz Hauk (Orgel im Münster Ingolstadt) – Philharmonisches Orchester Ingolstadt,
Alfredo Ibarra
Guild Music hat unter dem Titel Trimphal Music for Organ & Orchestra
bzw. Works for Organ & Orchestra vier sehr bemerkenswerte CD’s
veröffentlicht, die uneingeschränkt jedem Freund der symphonischen Orgel zu
empfehlen sind: GMCD 7182 bietet Widors Allegro, Andante und Final
aus der Orgelsymphonie g-Moll op. 42/2 in Widors Fassung für Orgel und Orchester
sowie Stücke von Joseph Jongen (Alleluja op. 112; Hymne op. 78)
und Horation Parker (Concerto, vier Sätze). Auf GMCD 7185 sind die
Komponisten Charles Gounod (Fantaisie sur l’hymne National Russe; Suite
Concertante, vier Sätze), Théodore Dubois (Fantaisie triomphale),
Alexandre Guilmant (Adoration) sowie Eugène Gigout (Grand Chœur
dialogué) vertreten. GMCD 7187 bringt Camille Saint-Saëns (Romance pour
violon, harpe et orgue op. 27; Sérénade pour orgue, harpe, violon et alto
op. 15), Alexandre Guilmant (Marche élégiaque op. 74/1; 2ème Marche
funèbre op. 41/3; Symphonie en La Majeur op. 91), Charles Gounod (Hymne
à Sainte Cécile, Trio pour violon, orgue et harpe) und Théodore Dubois (Hymne
Nuptial pour violon, harpe et orgue) zu Gehör. Auf GMCD 7195 interpretierten
Franz Hauk und das Philharmonische Orchester Ingolstadt unter der Leitung von
Alfredo Ibarra Werke von Joseph Jongen (Symphonie concertante op. 81) und
Marcel Dupré (Cortège et Litanie op. 19/2 in der Fassung für Orgel und
Orchester; Concerto e-Moll op. 31). Es handelt sich bei allen vier CD’s
um einfach wunderschöne, hervorragend interpretierte Musik. Schade ist nur, dass
in lauten Passagen trotz grosser Entfernung der Mikrofone die unschön-herben
Klänge der Klais-Orgel nicht vermeidbar waren. Ein adequateres Instrument wäre
sehr zur empfehlen gewesen! gl
Classical Music on the Web - June 2001
Charles-Marie WIDOR (1844 - 1937)
Symphonie en Sol mineur Op.42 (1882)
Joseph JONGEN (1873 - 1953)
Alleluja Op.112 (1940)
Hymne Op.78 (1924)
Horatio PARKER (1863 - 1919)
Concerto in E flat minor Op.55 (1902)
Franz Hauk (organ)
Ingolstadt Philharmonic/Alfredo Ibarra
Recorded: Ingolstadt Munster, August 1998
GUILD MUSIC GMCD 7182 [62:48] |
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Charles-Marie Widor has written a huge amount of organ
music, the crown of it being his ten organ symphonies, a genre he really created. His
Symphonie en Sol mineur Op. 42 for organ and orchestra, a commission of the Philharmonic
Society to mark the 10th anniversary of the Willis organ in the Royal Albert Hall, was
completed in 1882. It was first performed in August of that year. Though the original
commission was for an organ concerto, Widor decided - for whatever reason - not to compose
a new work but rather to rework some existing material. Actually the outer movements are
drawn from his Organ Symphony No. 6 Op. 42/2 on which he was then working. The slow
movement derives from his Organ Symphony No. 2 Op.13/2 composed ten years earlier.
However, the symphony as such is a quite impressive piece of music in its own right, even
though a slight stylistic dichotomy may show because of the work's origins. The central
movement is more traditional than the outer ones which are fine examples of Widor's
maturity, but the whole work is coherent enough and eschews any suspicion of eclecticism.
This is a major work which repays repeated hearings. The symphony was performed in
Philadelphia in March 1919, the conductor then was Stokowski who apparently made some
changes to Widor's orchestration though we are not told to what extent he
"tinkered" with it. The present recording incorporates Stokowski's
"orchestration" and Franz Hauk's cadenzas.
Joseph Jongen composed only three works for organ and orchestra
of which the Symphonie Concertante Op. 81 of 1926 is his unquestionable masterpiece. Hymne
Op. 78 for organ and string orchestra was composed in 1924 and is a peaceful meditation
unfolding effortlessly whereas the more extrovert Alleluja Op.112, written in 1940 to mark
the inauguration of the new organ in the I.N.R. (Belgian Radio)'s concert hall, is a
short, modally inflected work, quite characteristic of Jongen in his outdoor mood.
The American composer Horatio Parker wrote many choral and organ
music, but may be best remembered as Charles Ives' teacher. Apparently Ives did not think
too highly of him, nor did contemporary critics. Parker, who studied with Rheinberger in
Munich and who - incidentally - played the organ part at the first performance of
Rheinberger's First Organ Concerto, is a very traditional composer whose music bears many
Germanic influences. His Organ Concerto in E flat minor Op.55 was completed in 1902, i.e.
twenty years after Widor's above-mentioned symphony, and sounds as if it had been written
ten years before Widor's piece. The opening movement is fairly impressive but soon
outstays its welcome. The second movement Andante is a romantic, nostalgic reverie in
which the first violin and first horn have almost concertante parts. The following Scherzo
is, to me at least, the weakest of the concerto whereas the concluding Allegro moderato
reverts to the sonorous exultant mood of the opening movement. Parker's Organ Concerto is
no great masterpiece; it is too uneventful, a bit eclectic and at times bombastic, but it
is still worth the occasional hearing.
These performers have already put us in their debt for their
other recordings of fine, generally little-known, works for organ and orchestra. They play
this unfamiliar music with conviction and affection, and the present release is again most
welcome for Widor's major piece and Jongen's rarities, whereas Parker's concerto may be
more of a curiosity. The recorded sound is very fine. Full marks to all concerned.
Hubert
Culot
RADIO TÉLÉVISION BELGE DE LA COMMUNAUTÉ
FRANÇAISE
Centre de Production de Liège
Ces deux CDs du label GUILD sont
véritablement enthousiasmants, et cela pour plusieurs raisons. Dabord la prise de
son est exceptionnelle de naturel et de grandeur : en effet lorgue
déglise ne sépanouit que sil est conçu en fonction du bâtiment où
il se trouve, et dans ce cas, linstrument est le haut-parleur, et léglise qui
lentoure constitue le baffle qui le fait rayonner. Pourtant bien des ingénieurs du
son réalisent des captations dont les micros sont trop proches de lorgue,
négligeant ainsi lacoustique de léglise et le chatoiement résultant du roi
des instruments. Ici, GUILD a uvré de manière parfaite et intelligente, et
le résultat est grandiose : lorgue Klais dIngolstadt (1977) resplendit
dans toute sa plénitude, soutenu par un orchestre qui ne force jamais le ton, participant
ainsi dautant plus à laspect naturel de cette splendide réalisation à
laquelle il convient bien entendu dassocier Franz Hauk et Alfredo Ibarra.
Une autre raison de se réjouir est que la présente réalisation
constitue la première publication, répartie sur deux disques, de la totalité des
pièces pour orgue et orchestre de notre compositeur belge Joseph Jongen (1873
1953) , à savoir la " Symphonie concertante " op.81,
l" Hymne " op.78 et l" Alléluia "
op.112, ces deux derniers étant des premières au disque. À lécoute de la musique
de Jongen, on a constamment limpression dun art infaillible et il est
piquant quun critique lui ait reproché un jour de " ne jamais rien
rater " ! Ce qui frappe dans ces versions Hauk Ibarra, en plus de
leur grandiose magnificence, cest leur chaleur et plus encore leur délicate
poésie, surtout si lon compare cette version de la " Symphonie
concertante " avec celles de Virgil Fox (EMI), Michael Murray (TELARC),
ou Jean Guillou (DORIAN), poésie qui nexclut dailleurs pas une noble
vigueur. Une seule petite bizarrerie étonnante : un trait dorchestre est en
partie escamoté dans le premier mouvement de la " concertante "
(track 1, à 3 min 49 sec).
Michel TIBBAUT , ir
Organists' Review - February 2001
Widor Symphonie in sol mineur,
pour Orgue et Grand Orchestre (opus 42);Jongen: Alleluja
pour Orgue et Orchestre; Hymne pour Orgue et Orchestre; Horatio Parker
Concerto in E flat minor for organ and orchestra (opus 55)
Recorded August 1998;TT67'52" Guild GMCD 7182
For general comment, readers should turn to our last issue (200/4, November).
With this new recording the GUILD/ Ingolstadt team enhance still further their growing
reputation
In 1882 Widor was commissioned by Philharmonic Societuy, on the recommandation of the
future Edward VII, to compose an Organ Concerto to mark the tenth anniversary of the
Father Willis organ in the Royal Albert Hall. Rather disappointingly Widor chose to
orchestrate three movements from two of his existing organ Symphonies rather than
create anything new. However, skilful Orchestrator that he was, a wand was waved over two
movements from Symphonie VI and one from the Symphonie II and this
splendidly vivid concerto metamorphosed. Jongen is well known for his three colourful and
rather impressionistic work for orchestra and organ: Although Symphonie concertante
is the best known, Alleluia and Hymne are just as fine, dating from 1940 and 1924
respectively.
Horatio Parker (1863 - 1919), the profliic American composer is usually described as
being responsible for bringing to the USA the Germanic style of his teacher Joseph
Rheinberger, with a fondness for counterpoint, fugues and that particularly German brand
of chromaticism. In fact his stirring nineteen-minute E flat minor concerto, which dates
from 1902 shows evidence of a much wider band of influences. Perhaps his visit to England
in that year to have an honorary Cambridge Doctorate conferred upun him brought him into
direct contact with the music of Elgar - both men being at their creative heights at the
time. For the opening allegro moderato is awash with Elgarian touches, as Marc
Rochester points out in his perceptive programme notes. As he says: 'the German romantics
hover over the beautiful second movement whilst the delicately pattering third is clearly
from the same stable as the scherzos of Luis Vierne. The finale , beginning and ending in
a gloriously Wagnerian vein includes and energetic Fugue and a stirring pedal cadenza'
The fine piece deserves a re-introduction to the concert platform; hopefully through
the quite uplifting recording, repleter with glorious organ and orchestras tone once again
cunningly capturing the vast Ingolstadt acoustic. Parker's masterpiece will find a fresh
audience.
Paul Hale
American Record Guide July/August 00 Page 210/211
Widor: Symphony in G minor,
Jongen: Alleluia; Hymne
Parker: Organ concerto
Franz Hauk, Ingolstadt Orchestra / alfredo Ibarra
Guild 7182 (Qualiton) 63 minutes.
This fascinating collection of little-known pieces for organ and orchestra was recorded
in Liebfrauenmünster Ingolstadt in 1998, using the 4 100+ Klais organ. The Widor
work was commissioned to celebrate the 10th anniversary of the Villis Organ in
Prince Albert Hall. Insteda of writing something new, Widor arranged two movements from
his Symphony 6 and a slow, middle movement from Symphony 2. While this might strike some
as an easy way out, the result is quite satisfactory. The opening Allegro manages to
maintain a nice balance between organ and orchestra with sections for each to shine. The
slow movement is very pleasant, but the organ is mostly occupied with quiet background
commentary.
Jongens 1940 work to inaugurate a new organ in Belgium will immediately remind
listeners of passages from his much better known Symphonie concertante. A short
work (under 6 minutes), it has a strong, romantic flavour, with heroic brass and soaring
strings. The same can be said of the longer and better crafted Hymne from 1924.
Characteristic Jongen harmonies prevail, and one can revel in the haunting middle section,
where slow-moving organ chords accompany a lovely string theme. If you enjoy the Symphonie
concertante, youll love this piece.
The Parker concerto continues this romantic flavour, and if I and III are a bit
disapointing, surely they are balanced by the stunning Andente. The orchestral writing is
particularly noteworthy. Parker had a good sense of what works for each instrumental
family. Too bad it was received with sugh indifference bz the critics. If you are
unfamiliar with Parkers compositions beyond his best-known Hora Navissima, this
piece will surprise you.
Good performances all around. Unless there was some sneaky enhancement of the
acoustics, the reverberation is splendid. It makes these pieces even grander than they
are.
Metz
INTERNATIONAL RECORD REVIEW - MAY 2000
Organ Works
Widor Organ Symphony in G minor, Op. 42.
Jongen Alleluia, Op. 112. Hymne, Op. 78.
Parker Organ Concerto in E flat minor, Op. 55.
Franz Hauk (organ); Ingolstadt Philharmonic Orchestra/Alfredo Ibarra.
Guild GMCD7182 (full price, 1 hour 3 rninutes). Played on the Klais organ of
Liebfrauenmünster, Ingolstadt. ProducerJonathan Wearn. Date August l0th-13th,
1998.
Comparison:
Parker Organ Concerto:
Krahn, Nebraska CO/Levick (Albany) TROYI 24/5-2 (tvm discs)
Widor's Op. 42 Organ Symphony is, as the opus number suggests, a reworking of his solo
Organ Symphony No. 6; to the outer movements of the latter are added the slow movement
from Organ Symphony No. 2. The orchestral version was assembled ('composed' is too strong
a term) in 1882 in response to a commission from the Philharmonic Society to mark the
tenth anniversary of the Albert Hall's Willis organ. In essence, all Widor has done is add
an orchestral accompaniment to the solo organ part, and the result (with its excessive
reliance on heavy brass) is impressively grand, but adds nothing in musical content to the
already symphonically scaled solo piece.
Marc Rochester's useful booklet notes give a hostage to fortune by admitting that
Horatio Parker's Organ Concerto was badly received at its early performances in America in
1902-3. Rheinberger pupil Parker's historical reputation has been greatly harmed by
Charles lves' acid opinion of him, but this concerto is far from worthless. In fact, as
organ concertos go it is quite well constructed, and the balance of musical material
between soloist and orchestra is handled a great deal better than is often the case with
this intractable combination. All that was really required from the composer was a bolder
hand and more distinctive thematic material.
Between the two main works come two opulent pieces by Joseph Jongen, a festal Alleluia
and a Debussy-influenced Hymne, appealing and well-crafted works. Throughout,
the recording balances organ and orchestra well (the soloist is never drowned), but the
huge reverberation leaves most of the actual textural details to the imagination. Alfredo
Ibarra is much more successful in generating rhythmic drive than on the previous disc,
recorded two years earlier. The lngolstadt Philharmonic may be second-leaguers, but only
the quieter sections really show them up this time round: Widor's numerous orchestral fortissimos
sound well enough.
Francis Knights
Page revised 07.03.02
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