Louis Vierne is best known for his organ works and as a staunch titular of the Grand organ of the Notre Dame Cathedral in Paris, France, to the point of leaving his earthly existence at its elaborate console. What many people do not know, however, is his piano legacy, which is now becoming available in high resolution through the offices of MDG, of which we have here its first Volume. Granted, it is not exactly core repertoire, but seasoned collectors will be delighted to be able to embellish their shelves, already heavily (and heavenly!) bent under the weight of all the repertoire that is, with a superbly recorded set in the making.

In Michael Schöch's interpretation, it reads like a collection of handsomely painted, late-romantic piano works of, and I quote the liner notes, “a composer of effective salon music”. We must take this in a positive sense. Vierne lived in an epoch and a country where this style was almost mandatory. Compared to other such music providers, Vierne’s piano works excel in combining light-hearted poetry with, at times, compassionate sentiments. In doing so, it provides ample choice for any mood the listener may be in at a given moment. An embarrassment of choice.

I came across Michael Schöch in Reger: Inspired by Bach - Schöch, labelling him ‘a discovery for most’ (including myself). That was in the repertoire from Central and Northern Europe. Vierne is an altogether different cup of tea, though not only to be savoured in a ‘salon’. His bio tells us that his experience lies predominantly in Europe’s heartland. Tackling Louis Vierne is, therefore, a clear and courageous sign of a pianist who doesn’t want to be caged in an artistic Germanic straightjacket. Seeking new boundaries. Isn't that the right spirit?

Listening to this release, I must admit that not all sounds ‘unmissable’. But that is not due to Schöch’s elegant and well-defined playing. In a programme as varied as ‘a complete survey’, there are highs and lows. However, the ‘highs’ win over the ’lows’ and we discover some fine jewels that I, for one, would not want to miss on any count, thus whetting my appetite for Vol. 2 with all 144 Preludes and 9 Nocturnes. Indeed, something to look forward to.

If searching for a possible clue between a Central European piano maestro and another one portraying French piano works so remarkably well, then the common denominator may be found in the organ. Like Vierne, Schöch is a talented (First prize 2011 ARD International Music Competition, organ section) organist and, therefore, as stylishly linked to the piano as Vierne was. If still in doubt, listen to him performing Poulenc’s concerto for organ and strings. Not (yet?) available on SACD.

Blangy-le-Château, Normandy, France

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