Please wait...

Hyperion Records

Click cover art to view larger version
Track(s) taken from CDD22059
Recording details: January 1998
St Paul's Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: August 1998
Total duration: 28 minutes 49 seconds

'Stunning … a revelatory performance, reaching into the very heart of a work in which 'there are dark forces at work' … a real treat … the whole presentation is masterly—superb playing and superb engineering' (Gramophone)

'Thrilling music, thrillingly played' (BBC Music Magazine)

'Superb' (International Record Review)

'Here's a spectacular record' (Classic CD)

'If you seek a recording of Dupré's works which does full justice to the music's myriad shades and inflections in an acoustic which leaves you quite simply in awe, look no further. One could almost imagine Dupré himself improvising the magical sounds pervading St Paul's. Need I say more?' (Cathedral Music)

'John Scott’s understanding and deft touch in Dupré make this collection a must-have' (MusicWeb International)

Symphonie-Passion, Op 23
1921; plainchant themes for each movement: 1 Iesu redemptor omnium; 2 Adeste fideles; 3 Stabat mater dolorosa; 4 Adoro te devote

Nativité  [8'13]
Crucifixion  [7'10]
Résurrection  [6'04]

Introduction  EnglishFrançaisDeutsch
Dupré made the first of his many visits to America in 1921. He refers in his memoirs to the evening of 8 December when, at a recital he was giving in the Wanamaker Auditorium in Philadelphia, he was offered several liturgical themes on which to improvise—Iesu redemptor omnium, Adeste fideles, Stabat mater dolorosa and Adoro te devote. He instantly decided to improvise an organ symphony in four movements which depicted in music the life of Jesus: ‘The world awaiting the Saviour’, ‘Nativity’, ‘Crucifixion’ and ‘Resurrection’. This improvisation became the basis of his Symphonie-Passion, Op 23, which he began to compose on his return to France.

The first movement, ‘Le monde dans l’attente du Sauveur’, presents Iesu redemptor omnium as a quiet second subject in contrast to the agitated pulsing of the opening main theme, over which the plainsong ultimately triumphs. ‘Nativité’ seems to describe first the crib and then the Wise Men’s approach, before finally presenting Adeste fideles against a gentle background. The ostinato rhythms and cruel, jagged harmonies of ‘Crucifixion’ resolve into a simple, quiet treatment of Stabat mater dolorosa, while ‘Résurrection’ is a vast crescendo based entirely on the Eucharistic hymn Adoro te devote.

from notes by Felix Aprahamian © 1998

   English   Français   Deutsch