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Chants D'amour Et De Mort / Dominique Joubert

Release Date: 02/01/2005 
Label:  Eclectra   Catalog #: 2069   Spars Code: n/a 
Composer:  Claude DuboscqCharles TournemireJean GiroudLouis Vierne,   ... 
Performer:  Dominique Joubert
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews

These pieces belong to that rich post-Romantic period between Franck and Messiaen wherein deep religiosity was expressed in at once the most ascetic and sensual of terms. Almost everything on this release will be obscure even to the most psychotic of organ aficionados. All of it—given Domique Joubert’s eloquent advocacy, aided and abetted by the splendid Grande orgue Casavant opus 615 at the Saint-Jean-Baptise Church in Montreal—is of merit. A good deal of it is hauntingly beautiful. The theme of the programming is a universal one, songs of love and loss. The producers at Eclectra tellingly chose to translate mort (death) as “loss,” thus making things far more metaphorical than they might otherwise be. Their main point of departure is Read more Christ’s Passion as realized in the meditations of Tournemire, Daniel-Lesur, and Giroud. Things become more humanized in the second of Duboscq’s Oraisons, which is the most tender of love songs, and that theme is brought further down to earth in Vierne’s Berceuse and his Monument to a Deceased Child.

Since Duboscq, Daniel-Lesur, and Giroud are unknown to me, I’m making the possibly perilous assumption that they are unknown to you as well. Claude Duboscq (1897–1938) was, as the notes tell me, “devout to the point of intoxication.” The Orasions are his only compositions for organ, and they are two very quiet, Gregorian chant-based miniatures of Franckian power. Jean-Yves Daniel-Lesur (1908–2002) was a student of Tournemire. His In Paradisum, also chant-based and utilizing the organ’s pianissimo, is eloquent and conveys, paradoxically, an affectivily powerful musical experience. Jean Giroud (1910–1997) was also a student of Tournemire and of Bonnet. The first of his Images pour un chemin de croix—Jesus is condemned to die—finally brings the organ to full cry. What follows that piece is aphoristic, abstract, and meditative. These Tournemire moments show him in a different light than I am accustomed to. The two extracts from his Chorals-Poèms pour les 7 Paroles du Christ are driven by extremely short motivic kernels often deployed in ascending or descending sequences above a pedal point. In the end, it is Tournemire at his most abstract and most eloquent.

The recording is excellent, offering a fine balance between direct sound and reverberation. Pedal notes register both powerfully and cleanly, and Joubert’s often-subtle registration choices come through in all their poetry.

This is a fine effort on all counts.

William Zagorski, FANFARE
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Works on This Recording

Deux Oraisons by Claude Duboscq
Performer:  Dominique Joubert (Organ)
Period: 20th Century 
Written: France 
Chorals-poèmes (7) for Organ, Op. 67 "Seven last words" by Charles Tournemire
Performer:  Dominique Joubert (Organ)
Period: Romantic 
Written: 1935; France 
Images pour un chemin de croix by Jean Giroud
Performer:  Dominique Joubert (Organ)
Period: 20th Century 
Written: France 
Symphony for Organ no 5 in A minor, Op. 47: Prelude by Louis Vierne
Performer:  Dominique Joubert (Organ)
Written: 1924; France 
Pièces (24) en style libre, Op. 31: no 19, Berceuse by Louis Vierne
Performer:  Dominique Joubert (Organ)
Period: Romantic 
Written: 1913; France 
Triptyque, Op. 58: 3rd movement, Stèle pour un enfant défunt by Louis Vierne
Performer:  Dominique Joubert (Organ)
Period: Romantic 
Written: 1929-1931; France 
In Paradisum by Jean Yves Daniel-Lesur
Performer:  Dominique Joubert (Organ)
Period: 20th Century 
Written: France 

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