法國管風琴室內音樂集(佛瑞,魏多,杜普瑞...) 昆汀·格里优 管風琴 雷茲尼切克 大提琴 薩克絲揚 長笛 Sarksyan, Guerillot, Reznicek / Widor, Faure: L'orgue chambriste

法國管風琴室內音樂集(佛瑞,魏多,杜普瑞等多名作曲家)
昆汀.格里优 管風琴
替博.雷茲尼切克 大提琴
克里斯蒂娜.薩克絲揚 長笛

In order to promote and develop the little-known repertoire of chamber music with organ, Quentin Guerillot, Khrystina Sarksyan and Thibaut Reznicek focused for three years their research more specifically on chamber music featuring the organ in the French repertoire. The peerless French chamber music instruments violoncello and flute soon presented themselves as the obvious choice, given the way their sounds marry so beautifully with those of the organ, and given the quality of the repertoire written for them. Throughout the 19th century, music salons were filled with – in addition to pianos and harmoniums – organs of various sizes. This was attended by the blossoming of a vast repertoire for instrumentalists and vocalists accompanied on the "piano, organ or harmonium", which was supplemented by numerous transcriptions written to give voice to the instruments available and musicians' talents, be they amateur, or professional like Gabriel Faure and Charles-Marie Widor. The latter were – we tend to forget – the muses of the organists who graced the salons of the Third Republic. Heir to this tradition, the great Marcel Dupre, organist at the Church of Saint-Sulpice in Paris, organ teacher at the Conservatoire de Paris from 1926 to 1954 and world-famous concert organist, regarded this increasingly secularised repertoire as a way of "bringing the organ into the realm of music in general." Among his pupils were many like the late lamented Jean Guillou, and Rolande Falcinelli, who pursued the evangelistic cause of their master, dedicating part of their oeuvre to chamber music with organ. Today's ultramodern organs in Parisian and Lyonnais concert halls continue to foster creativity in chamber music by contemporary composers such as Daniel Roth and Jean-Baptiste Robin.