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Rédemption - Kalevi Kiviniemi

Rédemption - Kalevi Kiviniemi

Fuga  FUGA-9320

Stereo/Multichannel Hybrid

Classical - Instrumental


Marcel Dupré: Suite Op. 62, Gabriel Fauré: Five Preludes from Neuf Préludes Op. 103 (trans. Kalevi Kiviniemi), Eugène Gigout: Three Pieces from Dix Pièces pour orgue, César Franck: Interlude symphonique de Rédemption (trans. Kalevi Kiviniemi), Maurice Duruflé: Prélude sur l’Introït de l’Épiphanie Op. 13, Olivier Messiaen: Apparition de l’Église éternelle

Kalevi Kiviniemi (organ)

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Review by John Miller - December 13, 2011

Kalevi Kiviniemi is the doyen of Finnish organists, an award-winner and a prolific maker of recordings. He has a particular affinity with the French Late Romantic organist/composers, and on this disc presents a programme of their music in celebration of the centenary of the historic Stahlhuth-Jann organ at St Michael's church in Luxemburg.

This organ has had a chequered history, as outlined in the booklet. It was built in 1912 by German organ-builders Georg Stahlhuth and his son Eduard. They not only had expertise in the German Romantic organ tradition, but also were disciples of French and Belgian organ builders. In addition, their contracts in England and Ireland already allowed them to build aspects of these organ traditions into their German organs. In fact, they were implementing Albert Schweitzer's concept of European organ building, demonstrating this in the St Michael instrument. As well as the typical German Romantic divisions and keyboards, it had an English high-pressure Tuba mirabilis 8' stop and French reed departments, amongst many other ranks designed to produce sounds that were both impressive and expressive.

Sadly, the organ suffered from the early 1960's obsession for baroque and neo-baroque capability, which resulted in what amounted to sheer vandalism of many European organs, with their Romantic hearts ripped out in favour of the fad for "period instruments". Huge changes were made to the console, wind-supply and divisions, with some removed entirely and high-pitched mixtures and mutations added. After the organ became almost unplayable in the middle of the 1990's, it was decided to make a thorough and sympathetic restoration as close as possible to the original Stahlhuth content, with an extension up to 78 speaking stops, including both German and French Romantic ranks, and a 32' fundamental in the pedal division. The result is a very flexible and characterful organ which is quite appropriate for this small cathedral. It does not spring from a balcony (thus giving room for the 16' and 32' pipework), and its deep case leaves a central space which frames the St Michael's lovely rose window. Many photographs in the booklet show it to have functionality tempered by beauty.

Kiviniemi's cleverly-constructed programme takes us through a sequence of French Romantic organ pieces by some composers who are dear to his heart. He has a particular fondness for the work of Marcel Dupré, and begins with his 'Suite Op. 62'. Its stirring 'Entreé' bursts in with bright flashes of tone above deep pedals, settling down into a quick march so jubilant as to suggest that the Patron Saint himself was processing up the church. In contrast, 'Canzona' is soft and gentle with luminous flutes accompanying a solo played with expressive legato. 'Sortie', the accompaniment to the clergy's leaving after the ceremony, bursts in with fiery reeds boosted by the heavy pedals. Here Kiviniemi shows his consideration of the reverberant acoustics of the building by his keen timing of the pauses between massive chord blocks.

Dupré's 'Antiphon, Op. 18 no. 3' floats dreamily over pulsing soft reeds and short dabs of notes from the pedals, a breathtaking texture showing off the composer's impressionistic style. His 'Magnificat Op. 18 no. 5' becomes the apotheosis of celebration, as Kiviniemi builds up the orchestral ranks of the organ into a blaze of glory in towering chords.

Next, Kiviniemi coaxes us into Fauré's distinct sound-world. The composer was a fine organist, noted for his extempore skills, but only wrote for his beloved piano. Kiviniemi has made transcriptions for organ from the 'Neuf Préludes Op. 103', and his artistry in applying this organ's colours to the music provides many delights and insights into these brief gems. No.3 in G minor is tender, translucent and never quite in focus, peaceful but underpinned by darker currents. No. 8 in G minor is an elfin woodland scherzo, with gurgling chuckles sounding in the half-light. No. 5 in D minor is forceful, almost angry restless, pushing forward only to subside in a forlorn lament. No. 9 in E minor is a contrapuntal tapestry of diapasons, and No. 7 in A major simulates striving, then accomplishing a goal.

Eugène Gigout was very much part of the symphonic style of French Romantic organists, and his 'Dix Pièces pour orgue' of 1892 show off both his expressive and virtuosic modes. Kiviniemi captures the "antique" mood of the set's 'Antienne dans le mode ecclésiastique', the darkly glowing funeral march which is 'Absoute', and the flickering 'Toccata', where, goaded by strong pedal notes, the skies seem to open as the brilliant mixtures and mutations slash and gleam within the organ's phenomenal power.

This disc takes its title from César Franck's oratorio 'Rédemption' of 1871-1874. Franck was perhaps the originator of the symphonic style of organ writing, and Kiviniemi pays homage to this in his own transcription for organ of the oratorio's Symphonic Interlude. At 14'48, this is the climax of the programme, truly virtuosic in its variety of registrations and expressive development of Franck's urgent prayer for a sinner's mercy and redemption. The piece culminates in a blazing transfiguration which fills the whole cathedral building, an epic of almost Wagnerian proportions.

Relative peace and calm return under the auspices of Maurice Durufflé's brief, modal 'Prélude sur l'Introit de l'Épiphanie Op. 13', before the finale of Messiaen's remarkable 'Apparition de l'Église éternelle' (1932) enters. This dream-like portrait of the Roman Catholic Church's massive solidarity in Messiaen's imagination rises aloft from the lumbering depths of the pedal choir on massive chordal blocks, like sonic masonry made of dissonant shards. It is a terrifying, seemingly implacable, vision which Kiviniemi brings almost into solid form before us, oppressive and unforgettable as it resolves in majesty and returns to the depths.

As if this programme were not enough, there is a 'bonus' track. In the wee hours of the morning's recording, all tracks in the can, Kiviniemi found a copy of the Luxembourg Anthem, 'Ons Heemecht' (Our Homeland) and immediately launched into one of his famous improvisations. Luckily, engineer Mika Koivusalo still had the recording devices on. You will have to wait 100 seconds (centennial) for the bonus track to begin; well worth it because master communicator Kiviniemi brings in a great element of humour (not to mention some amazing registrations) to this simple tune.

As for Koivusalo's engineering on this disc, the best I can say is that after its first playing, all I could write in my notes was "Wow!". In multichannel, this organ, capable of huge dynamic and colouristic range, is simply there in front of you, its more distant divisions clearly behind the frontal ones. Played loud, the result is stunning, with organ, organist, building and recording fully integrated. This is another of my SA-CDs of the Year without doubt. Fuga have a winner here; no lover of fine organs or French Romantic can afford not to acquire it.

Copyright © 2011 John Miller and HRAudio.net

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