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DUPRE: Works for Organ, Vol. 13


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Marcel Dupre (1886-1971)

Organ Works, Volume 13


Descended from a family of organists and musicians, MarcelDupre was born in Rouen in 1886. Taught by his father, he had his firstappointment as an organist at the age of twelve and in 1898 became a pupil ofAlexandre Guilmant, his teacher at the Paris Conservatoire, with Vierne andWidor, studying composition with the last and winning the Prix de Rome in 1914.Unfit for military service, he substituted for Vierne at Notre-Dame between1916 and 1922, and found time to study all Bach's music for the organ, in 1920playing in recital the complete organ works, thus establishing his reputation.An international career followed, with recitals throughout the world. This hecoupled with the position of professor of organ at the Conservatoire from 1926and employment as Widor's successor as organist at the Paris church of StSulpice. He served as director of the Conservatoire from 1954 to 1956 and diedin 1971. Equally gifted as a composer and as a performer, Dupre was a master oforgan improvisation, in particular on the fine instrument at St Sulpice.

Zephyrs is a reconstruction by the American organist andwriter Rollin Smith of an improvisation by Marcel Dupre on a theme by LeopoldStokowski, taken from a recording. It represents an art of which Dupre was amaster, with brilliant improvisations in his recitals, often on themes offeredby members of the audience, and ending, on occasions, although not here, with askilfully constructed fugue.


The Six Antiennes pour le Temps de No?½l, Op. 48, (SixAntiphons for the Christmas Season), were written in 1952. The first, EcceDominus veniet, et omnes sancti ejus cum eo: et erit in die illa lux magna,alleluia (Lo, the Lord shall come, and all his saints with him: and there shallbe on that day great light, alleluia), for Vespers of the first Sunday ofAdvent, takes as its basis the plainsong of the antiphon, heard first in theupper part. The second, Omnipotens sermo tuus, Domine, a regalibus sedibusveniet, alleluia (Thy all-powerful word, Lord, shall come from the abodes ofkings, alleluia), is a Vespers antiphon for the fourth Sunday of Advent, againbased on the plainsong. Tecum principium, in die virtutis tuae in splendoribussanctorum, ex utero ante luciferum genui te (Thine is the princedom in the dayof thy virtue, amid the splendours of the saints, from the womb before dawn Iengendered thee) is an antiphon for Second Vespers on Christmas Day. Thecomposer varies slightly the inflection of the plainchant, the basis of atranquil meditation. Germinavit radix Jesse: orta est stella ex Jacob: Virgopeperit Salvatorem: te laudamus, Deus noster (The root of Jesse has had seed;the star of Jacob has arisen: the Virgin has brought forth the Saviour: wepraise thee, our God), an antiphon for Second Vespers on the Feast of theCircumcision, develops the chant in a livelier mood. It is followed by Stellaista sicut flamma coruscat, et Regem Regum Deum demonstrat: Magi eam videruntet magno Regi munera obtulerunt (That star shines as a flame, and shows God,the King of Kings: wise men saw it and offered gifts to the great King), forSecond Vespers on the Feast of the Epiphany, offers the plainsong melody in theupper part in a serene meditation. The Second Vespers antiphon for thePurification, also heard at the blessing of the candles, Lumen ad revelationemgentium, et gloriam plebis tuae Israel (A light to lighten the gentiles, andthe glory of thy people Israel) has the plainsong in the pedals, in a jubilantsetting.


The Seventy-Nine Chorales, Op. 28, were intended to serve asan introduction to Bach's chorale preludes, offering relatively simple versionsof the same chorale melodies, later to be tackled in their more elaborate form.Durch Adam's Fall ist ganz verderbt (Through Adam's fall is the world defiled)is heard on manuals only in a two-part version. The familiar Ein' feste Burgist unser Gott (A mighty fortress is our God) is heard in fuller form, aLutheran version of Psalm 46. Erbarm' dich mein, o Herre Gott (Have mercy uponme, O Lord, my God) is in the form of a canon at the octave between the sopranoand tenor voices. Ich hab' mein' Sach' Gott heimgestellt (In thee, O God, haveI put my trust) has the chorale melody in the tenor. It is followed by Ich ruf'zu dir, Herr Jesu Christ (Unto thee I cry, Lord Jesus), which has the choralemelody in an elaborated version in the soprano.


The symphonic poem Vision, Op. 44, first published in 1948,has the explanatory superscription 'Et la lumi?¿re luit dans les ten?¿bres' (Andthe light shines in the darkness). It is with the darkness and lower depthsthat the work starts, growing louder, until a passage marked Grave, with atrompette theme over shifting sustained chords. The flute stop is used as oneof a pair of voices, moving on to an Andante cantabile, introducing thecharacteristic sounds of the voix celeste. The music slowly unwinds, increasingin pace before a toccata-like Vivo and a dynamic climax, a clearly definedmelody and a massive Largamente, as the light shines through the darkness. Thework ends with a brief return to the motif of the opening.


Further chorales from the collection of Opus 28 start withtwo versions of In dich hab'ich gehoffet, Herr (In thee, Lord, have I hoped),in E minor and A major respectively, the second appearing in Bach's ChristmasOratorio. In dir ist Freude (In thee is joy) is a chorale for New Year's Day,with full organ, and the well-known In dulci jubilo for Christmas, making useof the voix celeste. The selection ends triumphantly with Valet will ich dirgeben (Farewell), for full organ, with the chorale in the pedals.


The Symphonie No. 2, Op. 26, in C sharp minor, was publishedin 1929. It starts with a Preludio in which a toccata-like passage iscontrasted ontrasted with the grander figuration of the opening and otherchordal writing, providing the two subject groups of first movement form. Thereis a massively orchestrated climax, before a recapitulation and a C sharp majorending. The B minor Intermezzo, the third of its three sections a variedrecapitulation of the first, has a more complex central section, as always withcareful registration prescribed. The marching chords of the C sharp majorToccata give way to a mood of relative relaxation, before their return, with anow familiar pedal motif that returns yet again in the final section.


Keith Anderson


George Baker


A native of Dallas, George Baker created an early sensationin the organ world by winning the American Guild of Organists NationalCompetition in Organ Playing in 1970 and by his subsequent featured recital forthat organization's national convention two years later. He went on to studyorgan and improvisation in Paris and to record, and returned to America toteach organ and then to enter medical school. Some thirty years later he hasreturned to music as a performer, improviser, composer and teacher. Histraining as an organist was with some of the finest organ teachers of thetwentieth century. He obtained his Bachelor's degree from Southern MethodistUniversity under Robert Anderson, and studied in Paris with Marie-Claire Alain,Pierre Cochereau, Jean Langlais and Andre Marchal. During his time in France,he earned the Prix de Virtuosite with Mention Maximum from the Schola Cantorum,under Langlais. Returning to the United States, he took his doctorate in musicat the University of Michigan and then taught at the Catholic University inWashington D.C. before deciding to become a medical doctor. Although working inmedicine, he never ceased performing, composing and recording. In his earlyyears as a musician, George Baker won first prizes by unanimous
Facts
Item number 8554542
Barcode 636943454220
Release date 08/01/2003
Category Organ
Label Naxos Classics
Media type CD
Number of units 1
Performers
Artists Baker, George
Baker, George
Composers Dupre, Marcel
Dupre, Marcel
Producers USA RMC Classical Music
USA RMC Classical Music
Disc: 1
Deuxieme Symphonie, Op. 26
1 Zephyrs
2 I. Ecce Dominus veniet
3 II. Omnipotens sermo tuus
4 III. Tecum principium, in die virtutis tuae
5 IV. Germinavit radix Jesse
6 V. Stella ista
7 VI. Lumen ad revelationem
8 No. 21 Through Adam's fall is the world defiled
9 No. 22 A mighty fortress is our God
10 No. 23 Have mercy upon me, O Lord, my God
11 No. 36 In Thee, O God, have I put my trust
12 No. 37 Unto Thee I cry, O Lord Jesus
13 Vision, Op. 44 (Poeme Symphonique) ... Et la lumie
14 No. 38 In Thee, Lord, have I hoped
15 No. 39 In Thee, Lord, have I hoped
16 No. 40 In Thee is joy
17 No. 41 In quiet joy
18 No. 66 Farewell
19 I. Preludio: Allegro agitato
20 II. Intermezzo: Tres modere
21 III. Toccata: Tres anime
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