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Hyperion Records

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Moret sur Loing: the bridge, the church and the mills (1892) by Alfred Sisley (1839-1899)
Track(s) taken from CDH55475
Recording details: April 1989
St Paul's Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: June 1990
Total duration: 22 minutes 2 seconds

'Recordings and performances are splendid. Scott's playing is technically immaculate and his interpretations are intense and moving' (Gramophone)

'Consummate phrasing, perfectly judged crescendos and bags of atmosphere. His playing is magisterial in its sheer elegance, discriminating taste, and devotion to the music' (BBC Music Magazine)

'Brilliantly played' (CDReview)

Prélude, Adagio et Choral varié sur le thème du 'Veni Creator', Op 4
published in 1931

Prélude  [6'31]
Adagio  [7'37]

Other recordings available for download
Christopher Herrick (organ)
Introduction  EnglishFrançaisDeutsch
The Prélude, Adagio et Choral varié sur le thème du «Veni Creator», Op 4, the first of the three major organ works, opens with the flute stops spinning a fine web of sound based on the opening phrase of the plainsong melody. A reed stop in the pedals announces a contorted version of the second phrase of the plainsong theme. The triplet figure returns on the flute stops before the third phrase of the plainsong is adapted. The reed stop returns before the fluttering opening triplet figure brings the Prélude to a close. A short section marked ‘Lento, quasi recitative’ leads into the Adagio proper which starts in G minor and moves unpredictably to G major before plunging into the key of B flat minor where a darker mood gradually assumes more prominence. This passage may well be Duruflé’s finest for the organ: the music becomes increasingly chromatic and the transition from the opening Adagio to the climax is achieved in the most seamless manner. Finally the Choral which has only been seen through a glass darkly, as it were, is presented in full by the organ, and followed by the four variations.

The first variation is written in four parts. The theme appears in the pedals whilst the right hand plays an elaboration of the theme. The second variation is for manuals only, whilst the third variation is a canon at the interval of the fourth. The final variation is a brilliant toccata, introducing the theme in canon between right hand and pedals. The music winds up to a glorious climax; Duruflé saves his master-stroke for the coda marked ‘tempo poco più vivo’ when he presents the plainsong ‘Amen’ (only hinted at in the organ music until that point) in the pedals on full organ.

from notes by William McVicker © 1990

Other albums featuring this work
'Organ Fireworks, Vol. 13' (CDA67734)
Organ Fireworks, Vol. 13

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