Composer: Louis-Claude Daquin
Works: Nouveau Livre de Noëls (c. 1740): 1. Noëls sur les jeux d’anches sans tremblant, 2. Noël en dialogue, duo, trio, sur le cornet de récit, les tierces du positif et la pédale de flûte, 3. Noël en musette, en dialogue et en duo, 4. Noël en duo sur les jeux d’anches, sans tremblant, 5. Noël en duo, 6. Noël sur les jeux d’anches, sans tremblant, et en duo, 7. Noël en trio et en dialogue, le cornet de récit à la main droite, la tierce du positif de la main gauche, 8. Noël étranger, sur les jeux d’anches sans tremblant et en duo, 9. Noël sur les flûtes, 10. Noël, grand jeu et duo, 11. Noël en récit en taille, sur la tierce du positif, avec la pédale de flûte, et en duo, lentement et tendrement, 12. Noël suisse, grand jeu et duo.
Performers: Christian Mouyen, organist (historic organ by Dom Bedos, Abbatiale Sainte-Croix, Bordeaux, France)
Recording: November 1997, Abbatiale Sainte-Croix, Bordeaux, France
Label: K.617
Louis-Claude Daquin, a prodigy of the French Baroque, flourished in an era marked by a fascination with the organ as both a liturgical and concert instrument. His Nouveau Livre de Noëls, composed around 1740, epitomizes the festive spirit of Noël music within the context of the French organ tradition. This collection, with its rich tapestry of dialogue and ornamentation, reflects the improvisational style for which Daquin was renowned, capturing the essence of a genre that thrived on spontaneity and exuberance.
Christian Mouyen’s interpretation on the Dom Bedos organ, acclaimed for its expressive tonal palette, brings a vibrant authenticity to these works. The organ’s five manuals and exquisite stops, including a 32′ Bourdon at the Grand Orgue, provide a lush foundation that complements the intricate melodies. Mouyen’s technique exhibits a commendable mastery of the organ’s capabilities, particularly in his handling of the triplet and dotted rhythms that characterize Noëls Nos. 6 and 12. His performance breathes life into the music, achieving a delightful balance between vigorous articulation and lyrical expressiveness.
The recording quality is notably pristine, allowing the listener to appreciate the full range of timbres produced by this historic instrument. The engineering captures the distinctive sound of the organ’s reeds and flutes, which shimmer in the higher registers while grounding the harmonic structure in the lower registers. Mouyen’s command of inégalité—a hallmark of the French Baroque style—adds a nuanced rhythmic complexity that elevates the performance. However, there are moments where the bass line could benefit from greater definition; at times, it feels somewhat understated, which diminishes the grandeur of the overall texture. This is particularly salient in the ensemble-like passages where Daquin’s other instrumentation possibilities could have informed a more robust interpretation.
Though there are many commendable recordings of Daquin’s Noël music, Mouyen’s interpretation stands out for its vitality and clarity. His choices reflect an understanding of the historical context while also infusing modern sensibilities into the performance. The only drawback remains the booklet notes, solely available in French, which may hinder broader accessibility for non-Francophone audiences eager to glean insights into the repertoire.
Christian Mouyen’s recording of the Nouveau Livre de Noëls is a compelling testament to Daquin’s legacy. With its spirited performances and the exceptional qualities of the Dom Bedos organ, this album serves not only as an introduction to Daquin’s festive oeuvre but also as a rich listening experience for those familiar with the French Baroque tradition. The blend of technical prowess and interpretative intelligence makes this recording a worthy addition to any organ enthusiast’s collection.
