Pierre Cochereau studied with Dupre and Durufle at the Paris Conservatoire, but he is probably a lesser-known name among music lovers. However, organists the world over revered him as a player and improviser, and they would flock to the cathedral of Notre Dame, Paris, where he was Titulaire organist for 39 years. This two-CD set is a valuable document of his stunning abilities as a performer and improviser.
It’s generally true to say that when French organists play works by other European composers the results have a distinctly French flavour. Cochereau’s performance of the Liszt is thoroughly Gallic, and it’s full of his characteristic flexibility in tempo and rubato. We also hear the Notre Dame organ’s typical Cavaille-Coll timbres of fiery reeds, languid flutes, celestes, vox humanas and the orchestral registers of clarinet and oboe. Cochereau’s conception of this work is very operatic, which Liszt would have approved of, I think.
By all accounts, Dupre approved of Cochereau’s interpretation of his Symphonie-Passion, even though there are the occasional departures from the published score. Still, Dupre himself took liberties with his own, and other composers’ music, so Cochereau’s performance is quite justified. Again, the drama of this magnificent work comes across strongly, and I’ve never heard the ‘Crucifixion’ (one of the slowest performances on record) and ‘Resurrection’ played with such intensity.
Cochereau is more deferential towards the Vierne symphony, but he gives a magisterial account of this fine work by one of his predecessors at Notre Dame. Hearing the symphony on the very organ and in the very building where Vierne held office gives this performance that extra touch of authenticity and magic.
Listening to the Symphonie improvisee, played on the organ of Symphony Hall, Boston, one can understand why Cochereau is held in such high regard as an improviser. The two Adagio s are full of ravishing harmonies and exquisite colours; there’s a cheeky Scherzo and a joyous Toccata.
One has to accept the limitations of the 1950s mono recordings, and there are some action noises from the Notre Dame organ. But this doesn’t detract from the daring, passionate and creative music-making we hear on these CDs.'