FRANK MORANA
AmerOrganist 34/12

des Abîmes (Leduc 28.897). The works in these two volumes were originally written

for regional and international competitions, the first, for the Ile de France

in 1991, the second, for the Chartres competition in 1994.

The Trois Esquisses are dedicated to Pierre Pincemaille;

the Quatrième Esquisse, to Olivier Latry. The composer

is professor of counterpoint, fugue, literature, orchestration,

and improvisation at the Paris Conservatoire (CNS), and

as titular organist at St. Etienne Dumont is widely regarded

as one of the best improvisateurs in France. Yet, his

compositions are perhaps more indebted to Bartok than to

French tradition and--what is more important in these

works--a total mastery over medium and idea is

readily apparent throughout. The pieces in the first volume

are entitled Tournoiement, Rituel, and Variation sur un

Souvenir. The first (in English, "Whirling") features a

lively quasi-ostinato in irregular time, with repeated notes

in the pedal, and detached interjections. A "middle

section" emerges, with legato motion in 5/16 time, but the

conclusion is abbreviated and fortississimo. The Rituel

calls for only two general pistons, within which the

atmosphere changes brusquely. It begins with a declamatory,

fragmented solo in the tenor register, with a chant-like

accompaniment (with syncopated fourth-species counterpoint)

in the upper register, over a "brooding" bass. In the

contrasting section, the declamatory solo continues in 4'

pedal reed over repeated chords in the manuals. The two

sections play off against each other several times, but it

is the second section that is ultimately accorded the

greater development, culminating in magnificent

repeated-note clusters. A coda (in the registration of the

opening) follows, in which a free, but increasingly more

vehement recitative is accompanied by the "gloomy"

bass--which now rocks back and forth between two notes

only--and a single long-held two-note chord in the left

hand. The third Esquisse is marked "Presto agitato," and

plays upon the inherent dramatic contrast between sustained

tones, and agitated staccato passages (marked "le plus

pr‚cis possible, le plus agressif possible"). The effect is

protracted through nearly 150 measures, and seems to

precipitate a grand climax yet to come. The ensuing

section, however, is a mysterious "Ostinato," and the

anticipated climax is postponed until the very end. The

fourth Esquisse, "The Cry of the Abysses," is the longest of

the set and perhaps the most relentless in its motoric

quality. An initial introduction consists of a declamatory

unison statement derived from a familiar Pentecost sequence,

but the rest of the work is a unified, almost seamless

movement made up of jagged staccato and accented motifs.

Despite the obvious free use of all available pitches, the

tonality remains firmly root-centered for long periods. An

orderly succession of key-progressions, however, from C, to

D, E, F-sharp, and G, climaxes in a stringendo of repeated

notes and chord clusters. With the resumption of the

principal motion, fragments from the introductory Pentecost

sequence, and also from the Pange lingua, are presented in

legato chords over disjunct eighth-note ostinati in 5/8

time. (Within the overall design, however, these chants are

relegated to an almost incidental position.) History shows

that it is folly to try to preordain the significance that

particular pieces (or even styles) of music might hold for

generations yet to come; but for the world-class

musicianship, and obvious love and understanding of art that

is manifest in these organ works, this mâitre may well bode

successfully for a important place in the musical pantheon of

the new century.