Dupre: Works For Organ, Vol. 11

Naxos: 8554379

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Dupre: Works For Organ, Vol. 11



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71 minutes


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Dupre: Works For Organ, Vol. 11


Le Chemin de la Croix Op. 29 (The Stations of the Cross)

Extraits des 79 chorals Op. 28

Mary Preston (organ)



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Marcel Dupre: Le chemin de la croix (The Stations of the Cross), Op. 29

I. Jesus is Condemned to Death

II. Jesus Receives His Cross

III. Jesus Falls the First Time

IV. Jesus Meets His Mother

V. Simon of Cyrene Helps Jesus Carry the Cross

VI. Jesus and Veronica

VII. Jesus Falls a Second Time

VIII. Jesus Comforts the Women of Jerusalem

IX. Jesus Falls a Third Time

X. Jesus is Stripped of His Clothes

XI. Jesus is Nailed on the Cross

XII. Jesus Dies Upon the Cross

XIII. The Body of Jesus is Taken from the Cross and Laid in Mary's Bosom

XIV. The Body of Jesus is Laid in the Tomb

Marcel Dupre: 79 Chorales, Op. 28

No. 55: My Soul Doth Magnify the Lord

No. 56: In Peace and Joy I Depart

No. 61: O Innocent Lamb of God

No. 62: O Man, Mourn for Thy Many Sins

No. 65: Hail to Thee, Blessed Jesus

No. 67: Our Father in Heaven

No. 73: He that Suffereth God to Guide Him

American Record Guide

November/December 2000

“This is Volume 11 in the Naxos series of Dupré's complete organ works. Once again, Preston commands the impressive 4-84 Fish organ in the Meyerson Symphony Center, Dallas. Continuing the pattern established in this series, each disc contains a handful of Chorales (these are chosen from Nos. 55 to 73). The major work, Chemin de la Croix-one of the composer's favorites-is performed with musicianship and understanding. It was first done in 1931 in Brussels, a partly planned 'improvisation' to follow the reading of Stations of the Cross by Paul Claudel. The separate pieces are connected through the use of rhythmic and melodic leitmotifs into a remarkably unified work. Preston captures the mood of the crowd (Station 1), the gentleness of Station 6 ('Jesus and Veronica'), and the oppressive weight conveyed in Stations 3,7,9-Christ struggling under the Cross. Her tempos are rather slow for the big, loud movements; but that doesn't' harm the musical impact. The instrument packs plenty of punch for the dramatic moments, and the quiet sections are often extremely soft. This is as rewarding an interpretation as I have heard. If the hall lacks the reverberation of a cathedral, the balance and sonority of the organ compensate for it.”

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