Composer: Antonio Martín y Coll
Works: Extraits de Flores de Musica 1 à 4 (1706-1709), Anonyme: Obra de octavo tono, Anonyme: Passacalles de primer tono, Anonyme: Obra de segundo tono mana izquierda y dos bajos, Anonyme: Obra de clarin, Anonyme: Partido de mano derecha. Obra de tercer tono-Canción, Diego Xavara: Obra de lleno de tercer tono, Capocio: Gallarda, Anonyme: Tiento de segundo tono por la mediacion, Anonyme: Batalla famosa
Performers: François Houtart, organist
Recording: Patrick Collon organ, Church of Saint-Lambert, Brussels, Belgium, August 1989
Label: Pavane Records ADW 7209
The collection of organ works presented on this disc, drawn from Antonio Martín y Coll’s Flores de Musica, encapsulates a fascinating era in Spanish musical history, from the late 17th to the early 18th centuries. This period, marked by the interplay of diverse musical influences across Europe, sees Spanish organ music evolving under the dual pressures of liturgical tradition and the broader European Baroque style. Martín y Coll, a composer and theoretician, offers a unique window into this musical landscape, particularly through the pieces that resonate with the stylistic nuances of both Spanish and Italian traditions.
François Houtart’s performance, however, raises questions about the execution and interpretation of these historical works. While the repertoire demands a nuanced understanding of its intricate rhythms and various forms—such as the Obra, Passacalles, and Batallas—Houtart’s approach often lacks the vitality and clarity necessary to bring these pieces to life. Particularly, the Obra de clarin and the Batalla famosa should shine with brilliance and contrast; instead, they emerge somewhat muted, lacking the rhythmic incisiveness and energetic articulation that the music’s inherent characteristics demand.
The recording quality itself is commendable, offering a clear and well-balanced sound that allows the listener to appreciate the organ’s tonal variety, described as “speaking Spanish with a Brussels accent.” The instrument’s aggressive reeds and gentle flue stops create a sonorous palette well-suited to the repertoire. However, the choice of instrument, while appropriate, might not fully encapsulate the Spanish essence intended for these works. A more authentically Spanish organ could have enhanced the performance’s timbral richness and stylistic authenticity.
Technical shortcomings in Houtart’s playing further detract from the overall impact. Instances of slips and a lack of rhythmic precision suggest a need for greater technical assurance and interpretative conviction. The juxtaposition of styles within the collection, from the more typical Spanish pieces to those influenced by Italian and French traditions, calls for a performer who can navigate these shifting textures with finesse. Unfortunately, Houtart’s interpretation often feels undifferentiated, failing to exploit the variety of colors and emotions embedded within the music.
In reviewing this recording, it becomes evident that while the works of Martín y Coll and his contemporaries offer a rich tapestry of early Baroque expression, the performance by Houtart does not fully realize their potential. The pieces, with their intricate structures and vibrant historical context, require a more committed and inspired interpretation to resonate with the listener. The recording, while technically sound, ultimately falls short of capturing the full dynamism and complexity of this captivating repertoire, leaving the listener longing for a more compelling realization of these gems of Spanish organ music.
