Composer: Naji Hakim
Works: Choral No. 3 in A minor, Cantabile, Carillon de Westminster, Étoile de Soir, Te Deum, Ave Maria, Dieu parmi nous, Prière après la Communion, Canticum, Pange Lingua
Performers: Naji Hakim, organ
Recording: March 1997, Church of La Sainte-Trinité, Paris, France
Label: EMI CLASSICS CZS572272
Naji Hakim represents a vital link in the rich tapestry of French organ music, continuing the lineage established by monumental figures such as César Franck, Louis Vierne, Jean Langlais, and Olivier Messiaen. This recording, featuring both historic and contemporary compositions for organ, takes full advantage of the illustrious Cavaillé-Coll instrument at La Trinité. The choice of repertoire not only showcases Hakim’s own works but also illuminates the stylistic evolution of French organ music from the 19th to the late 20th century.
Beginning with Franck’s Choral No. 3 in A minor and Cantabile, the performances, while technically proficient, reveal inconsistencies in interpretative depth. The Choral, a work that intertwines grand thematic statements with intricate counterpoint, suffers from a lack of a cohesive legato line, rendering some phrases stark and disjointed. This is particularly evident in the climactic moments, where one expects a surge of emotional resonance but is met instead with an aridity that diminishes the work’s inherent warmth. Conversely, the Cantabile, often celebrated for its lyrical beauty, finds moments of expressiveness; however, the overall execution feels restrained, echoing an interpretation more concerned with precision than with the emotive richness that characterizes the French symphonic organ tradition.
Hakim’s performances of Vierne’s Carillon de Westminster and Étoile de Soir display a commendable sensitivity to the organ’s colors, yet they occasionally lean towards a metronomic rigidity that undercuts the music’s natural flow. The charm of Vierne’s melodic lines, which rely heavily on the organ’s timbral variety, could be more effectively communicated with a less mechanical approach. While the rhythms are crisp, they frequently lack the necessary ebb and flow that allows the listener to fully engage with the music.
Langlais’s Te Deum and Ave Maria present a different challenge. The pieces, which are deeply rooted in Gregorian chant, require a delicate balance of tempo and articulation to convey their spiritual essence. Unfortunately, these performances lack the poise and dynamic control necessary to bring out the harmonic and contrapuntal intricacies inherent in Langlais’s writing. Moments of potential transcendence are often marred by a lack of nuance, leaving the listener yearning for a more assured and intentional interpretation.
In contrast, Hakim’s interpretations of Messiaen’s works are notably more successful. His performance of Dieu parmi nous captures the piece’s dramatic contrasts and sacred fervor, particularly in the climactic toccata that concludes the movement. The rhythmic precision and flowing legato in the Prière après la Communion reveal Hakim’s understanding of Messiaen’s complex rhythmic structures, allowing the spirituality of the music to shine through. His ability to navigate the intricacies of Messiaen’s modal language speaks to both his technical skill and his interpretative insight.
The recording quality itself is commendable, encapsulating the majestic sonorities of the Cavaillé-Coll organ, which boasts a remarkable variety of tonal colors. The engineering allows for a clear delineation of the organ’s textures, though at times the balance between the manual and pedal voices can feel uneven, with the lower registrations occasionally overpowering the melodic lines.
Hakim’s Canticum and Pange Lingua serve as fitting conclusions to this survey, embodying the virtuosic and improvisational spirit that he has inherited from his predecessors. However, while the technical demands are met, the performances could benefit from a more exploratory approach, allowing the music’s inherent joy and complexity to resonate more fully.
The recording offers a substantial exploration of French organ music, though it ultimately falls short in delivering a fully compelling and cohesive interpretation of its varied repertoire. While Hakim’s understanding of the pieces is evident, the execution occasionally lacks the necessary emotional depth and stylistic flair that define the works of his illustrious forebears. The potential for a more profound connection with the music remains tantalizingly out of reach, suggesting that while this recording is an informative contribution, it does not fully encapsulate the vibrancy of the French organ tradition.
