[SACD-R][OF] Louis Vierne - Symphonies No. 3 and 5 - Samuel Kummer - 2007/2008 (Classical)

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Louis Vierne - Symphonies No. 3 and 5
Samuel Kummer

Жанр: Classical
Год записи материала: 2007
Год выпуска диска: 2008
Производитель диска: EU - Carus - 83.405
Аудио кодек: DST 2.0, 5.0
Тип рипа: image (ISO)
Битрейт аудио: 2,8224 MHz
Продолжительность: 66:35
Symphonie op. 28
1. Allegro maestoso
2. Cantilène
3. Intermezzo
4. Adagio
5. Final
Symphonie op. 47
6. Grave 07:51
7. Allegro molto marcat
8. Tempo di scherzo ma non troppo vivo
9. Larghetto
10. Final
The organ music by Louis Vierne (1870-1937), contrary to what might be believed nowadays, is in fact not at all a major part of his production. Of the composer’s sixty opuses, a little less than a quarter only is devoted to the mighty instrument. In his compositional conception, Vierne’s style was in “in no way revolutionary, but subtle, concise, highly personal, without affectation or grandiloquence, ideally adapted to the nature of the place and the spirit of the writing put to work”, remarks Michel Roubinet. “If one could characterize his music – a hypothesis all the more unrealistic in this case – independently from the man, one would then have to no doubt concede to the weight of time. But it is important not to forget that Vierne was never fashionable, even during his triumphant American tours.” The Symphony for Organ N°3 in F sharp minor Op.28 dates from 1911, is in five movements, and was first performed by its dedicatee, Marcel Dupré, on March 12, 1912 at the Salle Gaveau. The Symphony N°5 in A minor Op.47, composed between 1923 and 1924, is a grandiose score, openly inspired by Wagner, in which Michel Parouty saw the final forces of an artist at work: “Already weary from a long voyage, he assembled his forces and tried, in an ultimate effort, to bequeath his most intimate […] in a richness enhanced by emotional sentiment and an extreme tension of expressive means.” Playing on the Notre-Dame de Dresde organ, Samuel Kummer enchants us from the beginning of his interpretation to the end by a depth, thoughtfulness, and wealth of tones that are exemplary. The general balance of the musical discourse then becomes the foundation of a vision that is both rich and inspired. In a remarkable multicanal and stereo recording, this SACD is one of the best surprises of the Fall of 2008.
Jean-Jacques Millo
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