Daniel Roth at the magnificent Cavaillé-Coll organ of Sacré-Cœur de Montmartre in Paris
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- Опубликовано: 16 июл 2024
- First recording of the great Cavaillé-Coll organ at the Basilique du Sacré-Cœur de Montmartre in Paris
00:00 Toccata de la Cinquième Symphonie Ch. M. Widor
06:40 Choral III en la mineur C. Franck
Quatre improvisations sur des mélodies grégoriennes
21:45 Cortège sur l'introït “Cogitationes" de la messe du Sacré-Cœur
26:24 Offertoire sur “Ave Maria”
33:21 Communion sur “Ave Verum”
39:03 Postlude sur “Te Deum”
aux grandes orgues Aristide Cavaillé-Coll (1898) de la
Basilique du Sacré-Cœur de Montmartre : Daniel Roth, titulaire.
Enregistrement réalisé les 16 et 17 mars 1980
Prise de son et montage : Gregor Klein
Assistance et préparation technique : Gerhard Löffler.
This recording was digitised directly from the master tape.
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Informations from the LP-Inlay:
The organ of Sacré-Cœur, an unknown!
It was installed in the Basilica in 1919, and today we present its first recording!... it was very rarely played in concert! Why is that? We must not forget that the Basilica is dedicated to the perpetual adoration of the Blessed Sacrament by day and by night. Between the two world wars, people also increasingly lost interest in the symphonic organ; some discredited it because it was allegedly only built by the organ builder Mutin, who was known for his mediocre works...
For some time now, the renewed interest in the Romantic organ has enabled some French and German organists and musicologists to collect numerous documents on its history, which are summarised here:
The organ of Sacré-Cœur goes back to the instrument designed and built by Aristide Cavaillé-Coll in 1898 for the castle of the Baron de l'Espée, the Illbaritz, in Biarritz. At that time, it had 70 stops distributed over 4 manuals with 61 notes, three of them expressive, with three Chamade stops 16' 8' 4', and a Pedal organ with 32 notes and three 32', two of which are open, Flute and Bombarde. The third organ in France in a castle! The third instrument also from the immense production A. Cavaillé-Coll after St. Sulpice and Notre-Dame before the Trocadéro.
It is an enlarged copy of the A. Cavaillé-Coll organ of the Albert- HalI, Town Hall in Sheffield (England) 1873. Moreover, since the layout and the internal disposition are absolutely identical, these two instruments have tonal characteristics that are unique in the oeuvre of A. Cavaillé-Coll:
- three swellable manuals,
- Chamade stops 16' 8' 4' with high pressure, in the upper register, hidden behind the case,
- manual keyboards with 61 notes.
The organ of the Baron de l'Espée had, as far as the balance between the different families of stops was concerned, proportions that Cavaillé perhaps used nowhere else: fundamental and reed stops were very numerous, mutations and mixtures rare. Aristide Cavaillé-Coll probably thought that in this way he could solve the difficult problem of accommodating a "cathedral" organ in a chateau hall. In general, he disposed the church organ differently from the organ in the concert hall, but the proportions are also very different between the church organ with about 60 stops and the large instruments of St-Sulpice and Notre-Dame in Paris.
For all these reasons, Mutin, after taking over the Baron organ in the first years of the 20th century, made some changes to the disposition in view of the move to Sacré-Cœur, based on the organ of Notre-Dame, which was only about ten stops larger. However, he left the disposition and the transmission untouched; the pipework is still very much A. Cavaillé-Coll.
The two restorations of 1930 and 1960 did not fundamentally alter it, and since the Sheffield organ was destroyed by fire in 1937, it is the only example with the features described above. In contrast, large fluctuations in humidity caused severe damage to the windchests and all the leather parts. The ever-increasing air leaks mean that the stops no longer pull properly; the instrument no longer keeps in tune, especially the mixtures and mutations, and the fundamental voices themselves are no longer correct. The organ fell silent several times; in 1979, a month's work was necessary to breathe some life back into it in anticipation of the major restoration. This has just been decided, with the help of great financial efforts, by the Mayor of Paris and the Rector of the Basilica. Its aim is to return to a fully "Aristide Cavaillé-Coll" ensemble.
This record is therefore a historical document about the condition of the organ before the restoration. To avoid overly discordant sounds, the Mixtur stops, the Cornets and the Carillon were not used. The microphones were placed far enough away to reduce the intensity of the air leaks. Despite all these precautions, some background noise is perceptible, partly because the Basilica is open day and night for adoration of the Blessed Sacrament. The listener may please excuse this. 
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Utterly splendid the master and his pet !!!!!
It is another example of a magnificent Cavaille-Coll organ. The man was a genius organ builder. To this day there are no organs that sound that sound as good as Cavaille-Coll organs.
Back in 2006, my daughter, who could care less about organs, accompanied me to St. Denis, Paris, to hear the organ and was stunned at the magnificence of the sound. It left a lasting impact.
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I met Daniel Roth up at the Saint Sulpice organ back in 1991. He had me wait down below and took a handful of us up to the organ before Mass. I traveled by myself just to meet him and watch him play. I had a Sony VHS camera which I hauled around during my 3 day stay in Paris. I still have the tape to this day and would do it all over again.
I envy you so very much. What a treat! Love and Peace from Austin, Texas
Whoever "historic organ recordings" is, I could kiss you! ❤💋
sonorités envoutantes de D Roth, improvisations mémorables et hors du commun. Merci à vous, M. Roth ! et très belles photos
First Daniel Roth excellent performance.At age 63 I still want to meet him and learn what he may have forgotten. Second the organ, I believe that we should be thankful that these organs are still alive. I play one now for fun that that is really bad and to complain about the recording this sounds better than the Mollar I am toying with. I am great full for both. In my old age I believe I look at things differently now. Peace
I thought there were some really great sounds coming from this instrument, those wonderful pedal reeds and their singing quality starting at 00.58 are really powerful and surely unforgettable returning at 4.00 onwards. The ending of the Widor also sounds fine, of course a bit out of tune, but you can feel the great potential of this instrument with restoration. Listen also to 20.35! This instrument has a lot of individuality and with some work can become one of the greatest Cavaille-Coll instruments! The usual rhythmic drive and control of Daniel Roth here is admirable. We must thank the producers for all their work here, recording these instruments is not easy at the best of times!
This organ should be restored to its original glory for surviving 2 world wars.
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I have met Daniel Roth at St Sulpice and back in the UK. He is a magnificent organist and carries on the historic tradition at St Sulpice. The cavaille Coll organs are wonderful concert instruments. His recording of Widors 5th Symphony on the St Sulpice organ is momentous.
Having transcribed the first three of the improvisations from this recording I'm thrilled to hear the master recording without all the vinyl artifacts. I'm going to have to go over them again and listen for any details I missed. Thankyou!
Will you publish them?
@@ermenegildoguerra They need editing and reviewing and then I could think about that. Have to find the time and energy, both of which are always in short supply. I'd like to, eventually, but they need to be nearly perfect for my own standards.
@@incessnant350 Good luck, it would be a fantastic thing!
Roth later wrote a piece based on the Te Deum chant which he told me was based on the fourth of these improvisations. But, it's actually quite different from the original.
Thank you
Wow. Just wow! Since there aren't any Colls in the states I will have see these in person . Just wow!!!
They are worth the journey. Go to Paris and savour the beauty. Every Sunday at st Sulpice wait at the back of the church after the main service and the organ assistant will take you up to the organ and if you are lucky the great man will be there. It is an experience not to be missed..
Thanks for uploading this.
I know one has to put up with certain things when listening to historic recordings but there are limits. I couldn't do more than 30 seconds of the opening Widor before the fingernails down the blackboard impingement on my nerves forced me to hit stop, such was the distortion and sort of boiling sound effect through which the actual notes had to penetrate. Clearly, the idea is that we could hear the Sacre Cœur Cavallé-Coll but it's not exactly novel repertoire although no one denies that 5th Symphony is magnificent - simply the reward of listening to it elsewhere is orders of magnitude higher. I recommend the version played by the sub organist on the newly restored completely rebuilt organ in York Minster which is literally chalk and cheese compared to this aural purgatory.....
I suggest you get your speakers checked. No idea what you're on about. This is a fine recording and rendition.
What are you talking about. It's definitely not the best audio but there are many recordings that are way worse.
@@JRSSchattenberg Yes but the point is there are many better so why listen to one that's so far from perfect? And yes yes yes I understand we were listening less to to piece/recording and more to the actual organ itself but there must be recordings which show it off much better than this and which don't cause me to press stop in a huff only seconds in which, surely, is not the intention?
🙄
The entire purpose of this recording was to document the sound of this organ -- which had never before been recorded, and was almost never played in concert because the basilica is a pilgrimage site for perpetual adoration of the Blessed Sacrament -- before it was to undergo restoration. This explains the poor state of tuning, the omission of mixture stops (which were even more out of tune), as well as the choice of such basic repertory, and featuring the improvisations which could be adapted to the condition of the organ . So you have completely missed the whole point!! BTW Roth recorded another LP (Motette label) here after the restoration, a program entirely of improvisations. Naji Hakim, Roth's successor made a series of CDs here, and his wife Marie-Bernadette Durfourcet-Hakim also recorded on this organ.