L'Orgue Stahlhuth de l'Eglise Saint-Martin de Dudelange
Naji Hakim
Dudelange, Eglise Saint-Martin
| Franz Liszt (1811-1886) | Variations sur "Weinen, Klagen, Sorgen, Zagen" |
| Sigfrid Karg-Elert (1877-1933) | Choral symphonique "Ach bleib mit deiner Gnade" mi bémol majeur [op.87,1] |
| Jean Langlais (1907-1991) | Trois Poèmes évangéliques: L'Annonciation |
| Jean Langlais (1907-1991) | Trois Poèmes évangéliques: La Nativité |
| Jean Langlais (1907-1991) | Trois Poèmes évangéliques: Les Rameaux |
| César Franck (1822-1890) | Prière do dièse mineur [op.20] |
| Naji Hakim (*1955) | In Organo, Chordis et Choro |
| Naji Hakim (*1955) | Improvisation |
Naji Hakim, Orgue
Durée totale: 1:13 (h:m)
Booklet: 28p., Anglais Allemand Français
Numéro de catalogue AE 10281
EAN 4026798102814
Catégorie de produit: CD
Date de sortie: 02/07/2002
- play_circle_outline In Organo, Chordis et Choro
Reviews on “L'Orgue Stahlhuth de l'Eglise Saint-Martin de Dudelange”
American Record Guide Metz, :
Hakim, Messiaen's successor at La Trinite, is heard in this program on the impressive 4-88 Stahlhuth (1912/1962/2002 Jann) in St Martin's, Dudelange, Luxembourg. The instrument has undergone a good deal of alteration on the original (3-45). It is now capable of producing appropriate sonorities for French and German literature. It seems ideal for the Karg-Elert piece, a work in partita form that allows us to hear a wide range of colors and combinations.
The seldom heard variations on Weinen, Klagen come as a surprise to many, who expect the sort of loud aggressiveness heard in the Ad Nos setting or the Prelude & Fugue on BACH. There are forte moments, but these are overshadowed by the dominant mood of sadness over the death of his daughter.
Hakim offers a solid interpretation of the Langlais favorite, especially effective in the busy concluding movement. The inclusion of the Franck seems needless, contributing little to the program. Hakim's own piece is based on Psalm 150 and includes snippets of Jesu Redemptor Omnium along with two Alsatian folk tunes. A dramatic upward scalar rush opens the work. Quite different is the improvisation on a Luxembourg religious song and a melody composed for the first train in Luxembourg (De Feierwon). Evenly spaced chords support the melodies, and the whole is done pianissimo. This is a fine recording, with a well recognized artist and a marvelous instrument.
METZ
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