Orgelsinfonie 3/4
Louis Vierne
Hans-Eberhard Roß

Audite, 1 SACD

Releasedate: 01.09.2013

Item will be available soon.

€ 19.90

 

Mit den Orgel-Symphonien drei und vier, geschrieben in den Jahren 1911 und 1914, wird die dreiteilige Gesamtaufnahme der sechs Orgel-Symphonien Louis Viernes bei audite fortgesetzt. Aufgenommen an der Goll-Orgel von St. Martin in Memmingen, prägt der warme, weiche und weitmensurierte Klang der Orgel die Einspielung. Ihr Klang schafft unaufdringliche Kraft und Fu?lle, wirkt im Kirchenraum von St. Martin symphonisch und dabei doch stets klar. Die polyphonen Strukturen der Werke werden deutlich und die Durchhörbarkeit des Klangs ermöglicht frischere Tempi als u?blich - beides bei Vierne-Einspielungen keine Selbstverständlichkeit. Louis Victor Jules Vierne war hochbegabt und ehrgeizig, aber nahezu blind. Seine Reaktion auf virtuoses Orgelspiel, wie etwa das von César Franck, war geprägt von Wonne und Leiden, Freude und Furcht. Er studierte in Paris bei Charles-Marie Widor, der die Gattung der Orgel-Symphonien begru?ndet hatte. 23-jährig stand eine Zukunft voller Hoffnung vor ihm. Das war 1894 - als der französische Komponist, Organist und Instrumentalpädagoge seinen Lehrer doppelt vertreten durfte: am Orgeltisch der Pariser Kirche Saint-Sulpice und in Widors Konservatoriums-Orgelklasse. Doch Vierne war zu Höherem berufen: Zwischen 1899 und 1930 komponierte er sechs Orgel-Symphonien, die die Gattung auf eine bis dato unbekannte Höhe von Klangfarben- Reichtum, Mystik und zyklischer Architektonik bringen sollten. Die Orgel-Symphonien drei und vier entstanden, als Vierne festbestellter Organist von Notre-Dame in Paris war, sein Leben auf internationale Erfolge zusteuerte - sich aber auch zunehmend tragisch verdichtete. Hans-Eberhard Roß ist Kirchenmusikdirektor in Memmingen. Er hat fu?r audite bereits eine international erfolgreiche Gesamtaufnahme der Orgelwerke von César Franck eingespielt. Zusätzliche Informationen zur Goll- Orgel und zur Registrierung der Werke sind auf www.audite.de erhältlich.

   
     
 

International Record Review (Robert Matthew-Walker - 01.12.2013)
The six organ symphonies of Louis Vieme naturally fall into the repertoire of such works by French composers, but they constitute a 'set' (albeit in some respects an unfinished one) far more readily put together as a sequence than any other. They virtually demand being heard as a major series of works in sequence, and I hope thatat some point a dedicated organist will play all six in one recital This is because, from the start, they were planned as such: Vierne's six organ symphonies are each in a minor key, the rising sequence – Bach-like, as in the Clavierübung – being D minor, E minor, F sharp minor, G minor, A minor and B minor. Vierne was unable to complete the Seventh, in C minor, for which only sketches survive. Of the six symphonies, only the first is in six movements – the others are all in five. In discussing the first volume of Hans-Eberhard Roß’s set in February 2013, I explained the multi-movement form of French organ symphonies, which I shall not repeat here, but what is remarkable in this sequence of extended works is the variety which Vierne brings to each multi-movement plan. He never 'repeats' himself in structuralization or emotional juxtaposition, and the result is – despite a certain macro-thematicism which tends to run throughout all six symphonies – that each work is quite different from its fellows, yet at the same time seems to 'belong' to the set. It is a facet of large-scale integration of contrasts, which in my opinion has never received the musicological attention it deserves, but which these recordings in progress from this organist via Audite makes eminently worthwhile and practical. Vierne was virtually sightless, and suffered greatly in his personal and professional life; the first element means that it is only quite recently that reliable editions of his works have appeared (he was considerably disadvantaged in checking proofs prior to publication and was often emotionally discouraged from dealing with practical matters). Although the symphonies were composed with the sounds of the great Cavaillé-Coll instrument at Notre-Dame very much in mind, the music in each symphony is sufficiently varied as to afford the performer with a number of choices, which in this case Roß explains in detail – at the same time as exhibiting his own love for and understanding of this music. Thus it is that we have performances of these fine works which are compelling throughout. Particularly, the account of the great Adagio in the Third Symphony (arguably Vierne's masterpiece), shot through with deeply expressive invention, is very moving here, especially as the composer's individuality is strong and quite original, as we hear in the handful of recordings he made himself. Roß’s accounts are consistently very good indeed: the main facet of his interpretative ability is that he brings out the character of each movement in both symphonies as well as relating them to the overall larger structure. This is a rare and noble quality, achieved through an integration of tempos as subtle use of registration – in the Third Symphony through relating the Adagio and the toccata-like finale, and in the Fourth (over which looms the shadow of the recently broken-out war) through thematic, cyclical, integration (César Franck was Vierne's teacher, albeit briefly) rather than emotional character (the variety in the first three movements is astonishing). Apart from the committed intelligence of this fine player, the recording quality here is quite splendid, and this second volume deserves a strong recommendation to set alongside its predecessor.

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