• Gert Ronner plays «Fantaisie pour Notre-Dame» composed by César Franck, on the 1907 P.J. Adema & Zn. organ at the Church of Saint Joseph in Haarlem, the Netherlands.
• César-Auguste Franck (1822-1890) was born in Liège (at the time part of The Netherlands) and showed a talent for music and drawing from an early age. Together with his family, he moved to Paris to study at the conservatory with Pierre Zimmerman (Piano), Aimé Leborn (Composition) and François Benoîst (Organ). Contrary to his father's wish, he did not pursue a career as a piano recitalist but started playing the organ and church services as this provided a more secure and steady income. He was appointed organist of St-Jean-St-François in 1853 where he played a small instrument built by Cavaillé-Coll. It was this organ that provoked him his famous quote: "Mon nouvelle orgue, c'est comme un orchestre!". Franck developed a highly personal style of improvisation, inspired by his devotion to Roman Catholicism, in which he sought the mysticism of his faith. He was appointed organist of Sainte-Clotilde in 1857 and continued to compose works for the organ, piano, orchestra, but also produced large oratorio's and operas. His personal and unique style is highly influenced by Liszt and Wagner. His compositions are often contrapuntally complex and show a frequent and graceful use of constant modulation. He also developed the cyclic form, in which one or two themes are used as building blocks for entire symphonies. His organ works turned out to be key in the development of late romantic organ music in general, and as a teacher he was both adored and misunderstood because of his emphasis on improvisation. Franck passed away in 1890 after a badly treated injury caused by a minor traffic accident, leaving behind a large body of compositions still appreciated and performed often today. Notable pupils of him were Vincent d'Indy, Henri Duparc, Paul Dukas, Louis Vierne and Charles Tournemire.
The Fantaisie presented here was first published as Nº1 of the 'Six Pièces d'Orgue' in 1868. The same year, Franck made a new arrangement of this piece for the inauguration of the newly built Cavaillé-Coll organ at Notre-Dame Cathedral. Together with two earlier draft versions it remained in manuscript until the 1960s when they were discovered and published by musicologist Norbert Dufourq. The order of this publication later proved to be erroneous. They were again published by Robert Bates in the 1980s. However the labeling of Dufourq (version A and B) is misleading as it implies the 1868 version came first; and the labeling of Bates (version 1,2 and 3) is confusing as the published version of 1868 would be version 3 and the version here at hand would be version 4. Labeling them as versions is however unappealing in my opinion and at least the last version is a piece worthy of it's own title, hence my choice to rename it, which is especially striking in light of the recent disaster at Notre-Dame Cathedral. It was inevitable for me to dedicate this performance to Olivier Latry, hoping his organ (which miraculously survived) will soon be restored and sound in honour and glory of God.
This piece starts of with a quiet introduction in which the first theme appears. Next,
the second theme is introduced in the form of a canon the first three notes of which are an inversion of the first theme after which the first theme reappears. A bold agitated outburst ("animé beacoup") which immediately calms down leads into the newly composed second part. A kind of alla Marcia with detached chords similar to that of the Pastorale, Op.18, accompanies the second theme played on the pedals. The piece reaches a climax after which the second theme reappears on full organ. The music again calms down and comes to a quiet close.
• The 1906 Adema organ at the church of Saint Joseph in Haarlem is a typical example of 19th century organ building. The organ has a homogeneous sound palette, resembling the sounds of a symphonic orchestra, which in turn inspired many composers to compose for this new type of organ from the early 1860's and onwards. The casing of the instrument is half a century older and housed a previous instrument built by Lindsen in 1856. Such famous composers and organists as Hendrik Andriessen, Albert de Klerk and Gemma Coebergh played this organ for many years and it is famous for its poetic characteristics.
• Specification:
Hoofdwerk: Principaal 16', Bourdon 16', Prestant 8', Salicionaal 8', Fluit Harmoniek 8', Holpijp 8', Quint 6', Octaaf 4', Octaaf 2', Cornet V st., Mixtuur II-V st., Trompet 8' | Zwelwerk: Prestant 8', Viola 8', Vox Coelestis 8', Bourdon 8', Quintaton 8', Violone 4', Fluit Harmoniek 4', Piccolo 2', Sesquialter II-III st., Trompet 8', Fagot-Hobo 8', Vox Humana 8', tremulant | Pedaal: Contrebas 16', Subbas 16' (HW), Openbas 8', Gedektbas 8', Openfluit 4', Bazuin 16', Trompet 8' | 4 manual couplers (incl. Sub- and super), pedal coupler, Setzer.
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