Cinquième sonate
pour orgue

Raymond Daveluy
Composition Date: 1993
Revision Date: 1994
Duration: 00:36:30
Genre: Keyboard, Organ (Pipe or Electric), One Keyboard, Two Hands

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Organ
Programme Note:
Dedicated to the "Subscribers of Les Concerts Spirituels series at Saint Joseph's Oratory", the Fifth Sonata is a convincing demonstration or Raymond Daveluy's unfailing affection for his public and true music lovers: composed and premiere for them, in 1993, this work also reveals a greater concert for "Accessibility" than the previous sonatas. This four-movement composition was revised the year following its premiere. The 1994 version is the one heard on this recording.

In spite of the "Allegro Agitato e con Fantasia" marking for the first movement, which leaves room for fantasy, the structure of the work is much more defined than that is preceding fantasias. It actually is a traditional sonata form featuring two themes; how-ever the link between the two is so strong that it almost constitutes a third theme. A powerful symphonic thrust breathes a grandiose orchestral colouring into the work.

The second movement signals the arrival of the "Scherzo" in Daveluy"s organ sonatas, this sonata being the first of the series to include this form. The robust principal theme of the scherzo is presented in the classical manner, leading unavoidably to the middle "Trio". The latter displays on this recording a mixture of "vox humana" and heterogeneous colours, either hollow of brillant well suited to the odd bu attractive harmonies suggesting them. A dialogue between the récit and positive subtly brings the opening theme back, and the work comes to an end in a beautiful rhythmical flight.

The Adagio of the Fifth Sonata also introduces a new element in Raymond Daveluy's organ music: indeed, the lyricism and deeply meditative mood of this movement unveil another aspect of the musician's personality, who remains otherwise faithful to his original style. The whole work is permeated with great nobility and ends with the oftest of organ sounds.

In a magnificent contrast with the preceding section, the last movement imposes an assertive mood from the start. Borrowing its structure from the rondo-form, this concluding passage fo the sonata generates irresistible enthusiasm. The middle part of the rondo introduce the main theme on the pedal board, in long values, in a lyrical style recalling the full-scale French symphonies for organ. Then a fugato - the third one in this Fifth Sonata - based on the main theme gradually brings us back to the restatement of the refrain, which, in turn, in a flight of brillant virtuosity, leads us to the peroration of the work: a grandiose toccata where the inverted theme played in long values on the pedalboard, and later mixed with the original theme on the keyboards produced a climax rarely heard in the organ repertoire. These five sonatas for organ by Raymond Daveluy represent more than the symbol of a successful career spanning half a century: they constitute a crowning achievement which bas already entered the History of Music!

Rachel Laurin
Translation: Véronique Robert



Premiere Information:
1993?; Oratoire St-Joseph, Montréal, QC; Raymond Daveluy, orgue.

CATALOGUE INFO:

  • Call Number:
  • MI 2410 D246so5 2009
  • Genre:
  • Keyboard, Organ (Pipe or Electric), One Keyboard, Two Hands
  • Date of Acquisition:
  • May 16, 2017
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • 1 partition (53 p.) ; 22 X 28 cm
    53 Pages
    Height: 28 cm
    Width: 22 cm
  • Additional Information:
  • Pour Orgue (avec pédale obligée)
    En 4 mouvements : I. Allegro Agitato e con Fantasia (10:50) -- II. Scherzo (7:37) -- III. Adagio (9:56) -- IV. Final (7:54)
    Oeuvre déposée au CMC Québec.
    - - -
    For Organ (with pedal obligato)
    In 4 movements: I. Allegro Agitato e con Fantasia (10:50) -- II. Scherzo (7:37) -- III. Adagio (9:56) -- IV. Final (7:54)

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Cinquième sonate pour orgueFor information about this piece, please contact atelier@centremusique.ca--
Copies of this work are available for loan from: Montréal