Homage à Daniel Roth
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ORGANpromotion Bestell - Nr OP6002.
Programme: Roth; Introitus, Offertoire - Sortie*; JSBach - Fugue in C major BWV 575 - Chorale-prelude BWV 731; Saint Saëns -Fantasie in Eb major; Widor - Scherzo from Symphony No 4; Roth -Petite Rhapsodie sur une Chanson alsacienne - Two improvisations. (* = on audio CD only). |
Daniel Roth and the grand organ of Ste. Sulpice are in first-class form for this programme of music and discussion, the latter in German with both French and English sub-titles. Works by JS Bach, Saint-Saëns, Widor and M. Roth himself are performed in characteristically Parisian style. It has often been remarked that the Bach of French organists is distinguishable from that of German players. Here, phrasing and attention to form, with some occasional slight rubato, give relief from the unyielding sewing-machine-like rhythm sought by some performers - and very pleasant it is.
M. Roth maintains the special interest in the music of Bach that was shown by his predecessors, Widor and Dupré. A considerable part of a 45-minute interview is devoted to discussion of its performance. What matters is that each part must be clearly heard; tempi must be adapted to the resonance of the building, and sometimes, even in legato playing, each note must be detached from the next in the interests of clarity. Widor's copy of Bach chorales, annotated by Albert Schweitzer, is among the treasures exhibited.
Daniel Roth is not an organist who believes that the music of Bach should be played only on North German instruments. His own taste in organs is catholic - favourites include both Haarlem's Christian Muller of 1735 and Ernest Skinner's very different work of 1901 at Yale University's Woolsey Hall. May we hope that his words will influence players whose preconceived notions cut them off from many fine organs?
Discussion ranges over the history of music at Ste. Sulpice, and of the career of M. Roth himself - many organists will experience fellow-feeling at his mention of working with a priest who was a "difficult character". A short section is contributed by leading musicians who play tribute this very modest man who enjoys teaching "because we learn so much from our students". This is a most enjoyable and instructive pair of discs.
M. Roth maintains the special interest in the music of Bach that was shown by his predecessors, Widor and Dupré. A considerable part of a 45-minute interview is devoted to discussion of its performance. What matters is that each part must be clearly heard; tempi must be adapted to the resonance of the building, and sometimes, even in legato playing, each note must be detached from the next in the interests of clarity. Widor's copy of Bach chorales, annotated by Albert Schweitzer, is among the treasures exhibited.
Daniel Roth is not an organist who believes that the music of Bach should be played only on North German instruments. His own taste in organs is catholic - favourites include both Haarlem's Christian Muller of 1735 and Ernest Skinner's very different work of 1901 at Yale University's Woolsey Hall. May we hope that his words will influence players whose preconceived notions cut them off from many fine organs?
Discussion ranges over the history of music at Ste. Sulpice, and of the career of M. Roth himself - many organists will experience fellow-feeling at his mention of working with a priest who was a "difficult character". A short section is contributed by leading musicians who play tribute this very modest man who enjoys teaching "because we learn so much from our students". This is a most enjoyable and instructive pair of discs.
David Bridgeman-Sutton, 2008
