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The clever specification of the organ in Villerupt (no fewer than three 16’ registers out of a total of 16 stops!), a free reed (the Cor anglais), a very efficient tremulant that can be used as a vibrato (that is, in a discontinuous manner), one single stop on the Pedal (a magnificent Open flute 16’) and a new mixture on the Grand-orgue all led to the choosing of a programme intended to cast light on more than one country.
Both the Italian Film Festival of Villerupt and the proximity to Germany encouraged a European slant, which is reflected in this recording.
Regardless of its modest size, the instrument restored by Jean-Baptiste Gaupillat has a genuine personality (including in its historic deficiencies!): colourful, contrasting, poetic, and at times unusual. It’s the complete opposite of a standard all-purpose organ, and nonetheless allows a large number of styles and composers to be performed convincingly and efficiently.
JL Perrot
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Me Vincenzo PETRALI (1832-1889) |
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| 01. |
Suonata per l’Offertorio |
5’59 |
| 02. |
Versetto per il Gloria (Andante Mosso) |
3’20 |
| 03. |
Poco Andante |
2’56 |
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René-Louis BECKER (1882-1956) |
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1ère Sonate op. 40 en sol mineur |
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| 04. |
Praeludium festivum |
4’22 |
| 05. |
Dialogue |
7’57 |
| 06. |
Scherzo |
3’41 |
| 07. |
Prayer (Prière) |
3’17 |
| 08. |
Toccata |
5’35 |
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Henry SMART (1813-1879) |
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| 09. |
March |
5’18 |
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Moritz BROSIG (1815-1887) |
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| 10. |
Fantaisie über Christ’ ist erstanden op. 6 |
6’47 |
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Fernand de LA TOMBELLE (1854-1928) |
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| 11. |
Cantilène |
7’15 |
| 12. |
Toccata |
7’43 |
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64’16 |
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