Charles Koechlin - Organ Works (Christian Schmitt)

Information

Composer: Charles Koechlin

• Choral in F minor, Op. 90bis
• Deux Vocalises, Op. 212bis
• Choral 'Final du Requiem', Op. 161
• Sonatine, Op. 107 No. 3
• Quatre Chorals, Op. 98
• Pièce pour orgue, Op. 226
• Fugue, Op. 133 No. 2
• Adagio pour Grand-orgue, Op. 201
• Sonatine, Op. 107 No. 2
• Adagio, Op. 211
• Sonatine, Op. 107 No. 1
• Fugue modale, Op. 204b

Christian Schmitt, organ

Date: 2011

Label: CPO

https://www.jpc.de/jpcng/cpo/detail/-/art/Charles-Koechlin-1867-1950-Orgelwerke/hnum/1230609

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Review

I’ve been aware of Charles Koechlin for a very long time, having played flute pieces of his for almost as long as I can remember. It’s only relatively recently however that his name seems to have been cropping up more in the CD catalogues, with fascinating and remarkable works such as the piano cycle Les Heures Persanes showing previously little known aspects of the composer. Organist Christian Schmitt has here recorded a representative sample of organ works by Koechlin, and as many of these are première recordings this disc will add considerably to our supply of Koechlinalea.

 

Koechlin himself was more of a pianist than an organist, and the conventional nature of earlier works such as the Choral in F minor develops into further extremes of contrapuntal extremity as evidenced by the later opus numbered Choral Final du Requiem, which pushes canonic techniques into a labyrinthine elegy. If you like Hindemith’s organ sonatas, then the three Sonatines which Koechlin wrote during 1928-29 occupy comparable melodic and harmonic territory. Koechlin’s fascination and deep study of Bach comes through strongly in the Finale of Sonatine III, and the first and second of these pieces contrast with the rest of the programme in also having lighter Pastorale movements. There is also a good deal of melodic charm in the Quatre Chorals, produced as a by-product of the composer’s own composition classes.

 

This programme contains what is apparently Koechlin’s last work, the eccentric Pièce pour orgue, Op. 226, which shows the composer exploring the essence of his own expressive palette in what the booklet notes describe as “sketchy textures.” More monumental is the extended Fugue Op.133 II originally written for “a symphonic string apparatus”, and with seemingly impossible chromatic lines. More gentle and improvisatory is the Adagio pour Grand-orgue Op.201, which nonetheless builds a remarkable structure in which one can become totally immersed.

 

The recently rebuilt 1950s Marktkirche organ is a tremendous instrument, and very well suited to this music. A more nasal French sound might arguably be more appropriate, but whether consciously or not the organ sound here points to the universality of Koechlin’s expressive world and to my ears is both appropriate and highly enjoyable. The CPO recording is very rich and deep even in plain stereo. As an SACD multi-channel experience it really is of demonstration quality. This is one of those inspiring releases which anyone keen on organ music and 20th century repertoire should have around. The organ music of Charles Koechlin should hold no fears for anyone attracted by the romantic worlds of Widor and Duruflé, and indeed it often harks back to more ancient worlds in its sometimes antique style and use of the models of Bach. This organ sound is woodsmoke and nostalgia to me, and has restored my faith in its qualities as a truly expressive instrument. Superbly performed and produced with useful booklet notes, it is one of the nicest organ recordings I’ve heard for a long time.

 

-- Dominy Clements, MusicWeb International

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Charles Koechlin (27 November 1867 – 31 December 1950) was a French composer, teacher and musicologist. Among his teachers at the Paris Conservatoire were Jules Massenet, Gabriel Fauré, Maurice Ravel and Jean Roger-Ducasse. He was a political radical all his life and a passionate enthusiast for such diverse things as medieval music, The Jungle Book of Rudyard Kipling, Johann Sebastian Bach, film stars (especially Lilian Harvey and Ginger Rogers), traveling, stereoscopic photography and socialism. As a composer, Koechlin was enormously prolific, and was highly eclectic in inspiration and technique.

https://en.wikipedia.org/wiki/Charles_Koechlin

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Christian Schmitt (born 1976 in Erbringen, Saarland) is a German organist. He studied organ with Daniel Roth, Leo Krämer and James David Christie. Since 2014 he has been Principal Organist of the Bamberg Symphony Orchestra, for which he curates the organ series for the Bamberg Concert Hall. Schmitt has played the organs of the Elbphilharmonie Hamburg, the Konzerthaus Berlin, the Berlin Philharmonie, the Vienna Musikverein, the Gewandhaus Leipzig and the Maison Symphonique Montréal. His discography currently includes around 40 recordings. He is also an expert consultant for organ renovations and construction.

https://de.wikipedia.org/wiki/Christian_Schmitt_(Organist)

https://www.christianschmitt.info/

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