Pierre Labric is best recalled
today for his cycles of the organ symphonies of Charles-Marie Widor and Louis
Vierne. These were made between 1969 and 1974 on the stunning Cavaillé-Coll
organ in the Saint-Ouen Abbey Church in Rouen.
There are no biographical details
for Pierre Labric given in the CD booklet. Briefly, he was born in Rouen in
1921, and after study at the local conservatory with the French composer,
organist and conductor, Marcel Lanquetuit, went up to the Paris Conservatoire.
There he studied organ with Marcel Dupré and harmony with Maurice Duruflé. He
was assistant to Jeanne Demessieux at La Madeleine, Paris and latterly to
Pierre Cochereau at Notre Dame Cathedral. Aside from Widor and Vierne, Labric
has made essential recordings of Demessieux, Eugène Reuchsel and Liszt.
The present CD is the second instalment of the Widor symphonic cycle. Symphonies Nos. 5 and 6 were issued in 2022 to celebrate Pierre Labric’s 101st birthday. It is reviewed here. The Solstice CD website explains that the companies aim was to “rescue the recorded legacy of Pierre Labric from oblivion.” Although the Widor Symphonies had been released in the United States by the Musical Heritage Society, it suffered from a “mediocre pressing.” Fortunately, a “miracle happened.” The booklet recalls that aware “of our problems, a Rouen doctor informed us that he had just acquired at auction (!) a fair number of tapes from the original collection.” I have used the nomenclature of each work as given in the liner notes. There are others in use.
By and large, the first eight of Widor’s organ symphonies are secular in impact. But when he composed the Gothique and the Romane symphonies, he looked to plainchant as an inspiration. They took on a sacred or mystical character.
Widor wrote the Neuvième Symphonie pour orgue “Gothique,” op.70 during 1895. It was dedicated to the Church of Saint-Ouen in Rouen. Organ enthusiasts will know that the Cavaillé-Coll instrument there is regarded as one of the most superb built by that renowned company.
The opening Moderato seeks calm
from the first note to the last, and rarely finds it. This is truly “tormented”
music. It has been suggested that this movement “depicts the severe imposing
facade of the basilica.” This is followed by the contrasting and prayerful Andante
sostenuto with its labyrinth-like twisting melody. Widor introduces plainsong
into the third movement Allegro. Here he has used the Christmas introit Puer
Natus Est (A Boy is Born) which is introduced on the pedals. The substance
of this movement is basically a fugue alla gigue. I have noted before that the
finale, another Moderato, has been likened to a historical trip through organ
music history (past, present and even, perhaps, the future) culminating in a
‘toccata’ that is fairly and squarely Widor’s own. Interestingly, the movement
ends quietly. It is an effective set of variations.
In the Dixième Symphonie pour orgue “Romane,” op.73, Widor uses two plainsong chants, the Easter Sunday Gradual, Haec Daes (This is the Day) in the first, second and final movements and part of the Easter Sequence, Victimae paschali laudes in the melancholic slow movement. There are four movements: Moderato, Choral, Cantilène and Final.
The Symphonie was finished in
Lyon during 1899. Once again it was dedicated to a building: Saint-Sernin in Toulouse, a large Romanesque
church, complete with a Cavaillé-Coll organ which is also regarded as one of
the finest in France.
Albert Schweitzer once wrote
that: “When one Sunday (in 1900) still striving with technical problems, [Widor]
played for the first time in St. Suplice the Symphonie Romane, I felt with him
that in this work the French art of organ playing had entered sacred art.” It could be construed that the entire Symphonie
is a set of variations on the Gradual for Easter Sunday, Haec Daes quam
fectit Dominus (This is the day which the Lord hath made). Certainly, the
diverse musical material that Widor builds from his “theme” is impressive.
There are some complex Listzian figurations and chromaticism that contrast with
modal melodies and harmonies. The final movement is interesting with its huge
climaxes and long decrescendo to the quiet ending. It is a forgotten
“warhorse.”
The liner notes give a detailed exposition of these two massive organ symphonies. This is preceded by an overview of Widor’s life and achievement. It is printed in French and English. The all-important organ specification of the Cavaillé-Coll instrument is included. This magnificent instrument was installed in 1890 and was one of the last to be built under the supervision of Aristide. The organ has remained almost intact, despite some restoration work carried out in 1941 and 1955. As noted above, the booklet does not give any biographical details about Pierre Labric.
The recording is superb and reveals no suggestion of the above mentioned “mediocre pressings.” That said, I did feel that some of the passages are a little “bright” in places. But typically, the Rouen Cavaillé-Coll instrument is heard in all its glory. I find Pierre Labric’s recital satisfying, inspiring, and moving throughout.
I look forward to subsequent
issues in this series of Charles Marie Widor’s Organ Symphonies.
Charles-Marie Widor (1844-1937)
Neuvième Symphonie pour orgue “Gothique,” op.70 (1895)
Dixième Symphonie pour orgue “Romane,” op.73 (1899)
Pierre Labric (organ)
rec. 6-7 July 1971, Saint-Ouen Abbey Church, Rouen, France.
Solstice SOCD400
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