In
France during the eighteenth century, organ variations on well-known
Christmas Noëls were a prominent feature at the Midnight Mass. Before
Daquin published his book of noels around 1740, settings had already been
printed by other organists: Lebégue (1676), Gigault (1682), Raison
(1714), and Dandrieu (1721-33). The popularity of the genre is clearly
evident from the fact that the Archbishop of Paris banned performances of
noels by Balbastre at St. Roch due to the public disruption that resulted.
Of
all the writers of noel variations for organ, Daquin deserves the title of
king. His abilities as an improviser, composer, and performer did not go
unnoticed in his day. Indeed, in France he was considered the outstanding
organist of the time. He accumulated many important positions as
organist–often more than one at a time. In fact, in 1719 he was
dismissed from a job at St. Germain-le-Vieil because he failed to show up,
owing to “the number of organs which M. Daquin has to play in this
town...”! He successfully competed against the famous Rameau for
the post at St. Paul (1727). His most important posts included that of
organiste du roi (1739) and a position at Notre Dame (1755).
As
a performer, Daquin was especially known for the exactness and speed of
his playing. Fontenay mentioned his “unalterable precision in the most
rapid passages. What made him the greatest of virtuosos was the equality
of his two hands.” Even at the end of his life he played “in a sublime
manner, [as though] his head and hands were only twenty years old.” But
despite his emphasis on technique, Daquin was also a man of taste. Rameau
spoke of him admiringly for the majesty and grace he lent to the organ,
and for his courage to resist a growing tide of bad taste. Daquin’s
sense of style and gracefulness is particularly evident in the three trios
on this recording (nos. 2, 7, and 11), which are carefully positioned by
Daquin among the twelve noels in order to impart a welcome variety of
texture and mood.
Besides
his Nouveau livre de nöels pour l’orgue et le clavecin, Daquin
published only one other book: the Premier livre de pièces de clavecin of
1735. Although it is clear that his noels are organ works that could also
be played on the harpsichord (according to Daquin the majority could also
be performed on violins, flutes, oboes, and other instruments), it is less
evident that the opposite might also be true: that pieces from the
clavecin book could be played on the organ. Even so, most French organists
of the time played the harpsichord, and strict differentiations among the
various instruments and their repertoires was not as fixed in the minds of
the musicians of Daquin’s day as is the case now. In keeping with
this earlier, more adaptive spirit, and also in keeping with the spirit of
Christmas, our recording begins with a simple musette from the harpsichord
book.
©
Copyright 1999
