Recording of a disc – Sophie Rétaux
Hello everyone !
Now is the moment in which I am realising a project that has been a dream for a long time: a recording (produced and released by the German label audite) devoted to the instrument I on which I have played for 27 years!
The tercentenary of the organ of the Cathedral of Saint-Omer is the perfect occasion to celebrate one of the most beautiful French – if not European – Cavaillé-Coll organs: perfect in its design and harmonization, but also in its perfect matching with the acoustical and visual space of the Cathedral. Its sound is both uncommonly intimate and powerful, with both extremes adapted perfectly for the nave.
Although unique, dynamic live performances in our concert display the organ’s capacities beautifully, I would like to also pay tribute to this sumptuous instrument, with which I continue to share moments of a deep connivance, in a different way, as it has not yet received the international recognition that it deserves and
Often referred to as the “king of instruments”, the organ can be understood as a “twin” of the orchestra and thus serve as a medium for the performance of symphonic or chamber music repertoire that was initially not intended for it.
I have chosen to record my own transcriptions of works from the great repertoire of Russian music, thus enabling me to synthesize my parallel paths of organist and pianist and to celebrate the anniversary of this beautiful instrument in an unprecedented way, singular and extra-ordinary.
I am especially delighted that the recording will happen after major maintenance work (general tuning of some 3000 pipes). The strength, sound plenitude, and harmonization will doubtlessly not be lacking.
The CD will be published by the end of year 2017, but as its funding is not yet complete, every amount of support matters !
Many thanks for your contribution
Sophie Rétaux
A disc dedicated to the Cavaillé-Col Organ of the Cathedral of Saint-Omer and recorded by Sophie Rétaux, will be published by the prestigious German label audite by the end of year 2017.
The Cavaillé-Coll organ of the Cathedral of Saint Omer is an exceptional instrument.
A precious witness to the art of the famous Parisian builder Aristide Cavaillé-Coll, this instrument is, with its many and varied foundation, beautiful solo, rich reed stops, a model of refinement and splendid sounds.
2017 is the Tercentenary of the organ.
This recording project aims to celebrate the organ in an unprecedented way by presenting transcriptions of major works from the romantic Russian repertoire (symphonic music, chamber music, and piano works).
The recording will be made by the label audite.
“audite is, in every aspect, oriented towards high quality. Repertoire, interpretation, choice of venue, sound design, superior packaging and booklet note – the successful synthesis of all these factors results in the individual, extraordinary recordings which are so characteristic of audite. This success is reflected, not least of all, in the positive echo of international reviews, numerous recording prizes as well as the interest of the musical public.” – audite.de
Titular of the Organ
« As titular organist of the cathedral, I have had the opportunity to invest varied repertoires on this instrument.
A personal artistic experience oriented towards the practice of historical instruments (organ, as well as piano, which are both witnesses to a heritage of the time in which they were built), with their strengths and their demands, led me to re-read the original scores and attempt to approach the universe of the composers.
I now plan to record works transcribed by myself, in order to hear this sumptuous instrument in an unprecedented way, and to seize upon strong works of great composers who never composed for the organ. » – Sophie Rétaux
” ASK FOR THE PROGRAMME ! “
Recording from 2 to 4 of August 2017
Release in december 2017
– Dimitri Shostakovich, String Quartet No. 8 (transcription by Sophie Rétaux)
– Nikolai Rimsky-Korsakov, Shéhérazade op. 35 /4: (transcription by Sophie Rétaux)
– Sergei Rachmaninoff, prelude in G minor, op. 23/5: (transcription by Gordon Balch Nevin)
– Sergei Rachmaninov, prelude in C# minor, op. 3/2: (transcription by Frederick George Shin)
– Piotr Tchaikovsky, extract from Swan Lake, op. 20 (transcription by Sophie Rétaux)
– Piotr Tchaikovsky, extract from The Nutcracker op. 71, (arrangement by Reginald Goss-Custard)
– Sergei Prokofiev, Visions Fugitives, op. 22 (arrangement by Sophie Rétaux)
Transcribe
The power of transcriptions lies especially in using an instrument – the pipe organ – where it is not expected, taking it out of its pre-established place.
Transcribing is “scribing beyond” – beyond a work heard a thousand times, in which a change of sound results in the unexpected, in the unseen, in the renewal of listening, in the unsaid.
Project’s flagship : Shostakovich’s 8th quartet
” I told myself that after my death probably nobody would compose a work in my memory. So I resolved to compose one myself…
The main theme of this quartet is the combination of the notes D. Es. C. H., that is to say my initials, and I mentioned some of my works. A small anthology! “ – D. Shostakovich
« Thus speaking in the first person, without pretense nor detour, Shostakovich confronts the idea of the death he is still trying hard to violently reject. […] Beginning and ending with slow movements, the quartet falls within a path of tension / depression and becomes a dramaturgy of the tragic, where the fiercest energy can only fall into the most morbid despondency. »
L.Bouscant, Les quatuors de Chostakovitch : Pour une esthétique du Sujet, L’Harmattan, 2003
The instrumental part
1717 : Construction of the organ
Construction of the instrumental part by brothers Thomas and Jean-Jacques Desfontaines, organ builder in Douai. For nearly 140 years, various works of maintenance and repair distort and transform the original instrument.
1855 : Rehabilitation of the organ
Undertaken by Cavaillé-Coll from Paris, the most important organ builder of the 19th century. «The Great Organ of the Cathedral of Saint-Omer, he writes, originally built on vast proportions by an able and conscientious builder, is one of the most remarkable works of its time, both in respect to the instrument’s composition and to the architectonic shape…». He goes on to illustrate that he has the desire to « give back to this organ the first rank it held in the instruments of its time ».
The organ case: Visual enchantment…
The case is the fruit of the collective work of a family of sculptors and carpenters from Saint-Omer. The Piette family included the father, Jean, the sons, Antoine-Joseph and Jean-Henri, as well as the son-in-law, Jacques-Joseph Baligand, and together they had the entire back of the cathedral to raise this admirable fresco of wood, tin, and gold leaf up 22.50m from the ground.
To read more avaout the Organ and the Project
sretaux-chostakovitch.weebly.com
To follow the Project on Facebook
facebook.com/Cavaillé-Coll-accueille-Chostakovitch-à-Saint-Omer
Faced with the production costs of such a project, crowdfunding quickly proved necessary
Artist’s contribution : 15 000€
Already funded : 9000€ (City of Saint-Omer / Friends of the Cathedral of Saint-Omer Association…)
audite : international label (Detmold, Germany) :
Audio recording (3 days)
Video production during the recording days
CD Production with booklet
International diffusion and distribution of the CD
If the 5500€ expected goal is passed, the additional funds will be naturally reserved for the standing of the organ.
Sophie Rétaux, project initiator
After studying music at the Conservatory of Douai, Sophie Rétaux joined the Conservatory of Lille where she completed her artistic training. She received prizes for organ, piano and accompaniment. At the same time, she met two essential and formative musicians: Jean Boyer for organ and Jean Koerner for accompaniment, both of which profoundly marked her career. The mentorship of these two musical masters (demand, humility, and didactic passion) became founding values of her musical personality.
A First prize of interpretation at the international competition of Nijmegen (Netherlands/1992) and a second prize at the international competition of Toulouse (1996) allowed her to begin a concert career in France and abroad (Paris : Notre-Dame, La Madeleine, Les Blancs Manteaux, St Séverin, Basilica of St Denis…, Epernay, St Ghuilhem le Désert, Cannes, Laon, Vannes, Quimper, Toulouse, Vienna (Austria), Nijmegen (Netherlands), Echt/Azelte (Luxembourg), Brussels, etc …) while satisfying deep-held love of chamber music, performing as much with the piano as with the organ, the harpsichord (continuo), and, for a few years, the pianoforte.
She has collaborated extensively with the Continuum ensemble (including having performed on a CD of Italian instrumental music around 1600 / Syrius) and musicians such as flautist/composer Dominique Vasseur (recording two CDs for the collection “Signature” of Radio France), violinist Philippe Couvert (concertmaster of La Grande Écurie et la Chambre du Roy), cellist Dominique Dujardin, and percussionnist Jean-Claude Gengembre (solo timpanist of the Philharmonic orchestra of Radio France).
Occasional partnering with larger ensembles (Orchestre National de Lille, Orchestre de Chambre Amadeus, Choeur de l’Opéra de Lille, Vocal Ensemble “Les Eléments”), Sophie Rétaux’s sensitivity to the musical love of non-professional musicians occasionally brings her to work with volunteer choirs.
Sophie Rétaux is titular organist of the Aristide Cavaillé-Coll organ of Cathédrale Notre-Dame de Saint Omer. It is for the promotion of exceptional instrument, a precious witness of the art and work of the famous Parisian organ builder, that she began a work of transcribing major works of the chamber or symphonic music repertoire of post-romantic and modern periods.
After having held the position of accompanist of the singing class at the Conservatoire de Lille for several years, she was appointed professor of organ in 2012 in the same institution.
She teaches organ and pianoforte at ESMD (Pôle Supérieur) in Lille, and there also leads courses that bring awareness of historical instruments to piano students.
Project realised with the complicity of :
Many thanks for their support