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Nicolas Gorenstein - Flûtes2 users
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Nicolas Gorenstein - Voix Humaine
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Born in Paris XV on November 24, 1952, Nicolas Gorenstein began learning music theory and piano, then became a student of Edouard Sourberbielle from the beginning of 1969, then professor at the College of music César Franck and at the Catholic Institute of Paris. But it is in private lessons that he benefits from the precious teaching of this organist whom he will consider as his Master. Thus, he begins by perfecting the piano before making him discover the organ, while giving him lessons in writing and interpretation, leaving it to Claude Terrasse to teach him counterpoint to the School César-Franck. Thanks to this teaching, at the same time he entered the Paris Conservatoire without difficulty and quickly won five first prizes: fugue, counterpoint, harmony, analysis and in the class of Rolande Falcinelli that of organ (improvisation) in 1982. Shortly after, he was appointed co-holder with Claude Terrasse of the grand organ of the Saint-Jacques church of Haut-Pas, before soon succeeding him to his departure a few years later. This instrument of 48 games (including several old from the instrument of the church of St. Benedict) spread over 4 manual manuals and pedal, had been the subject of a repair by Merklin in 1887, then a reconstruction in 1971 by Alfred Kern and inaugurated the same year, May 18, by Cochereau. It was then the subject of a general lifting in 1988 by the same organ builder, then a cleaning with modifications in 1995 by Dominique Lalmand. According to Nicolas Gorenstein himself, part of the woodwork of the large buffet is dated 1609, making it the oldest of Parisian buffets. Thus for nearly thirty years, Nicolas Gorenstein touched this instrument of which some of the trumpets had once resonated under the fingers of Louis Marchand (1669-1732) when he was the organist of Saint-Benoît. A connoisseur of the history of the organ of Saint-Jacques-du-Haut-Pas, he is the author of one of the first complete studies on this subject, published in the late journal Connaissance of the Organ by the late Pierre Hardouin ( No. 107/108, pp. 40-72). But as liturgical organist Nicolas Gorenstein had been deeply affected, like many other holders of tribune, by the installation as soon as its publication in 2001 the collection of Chants noted of the Assembly (Paris, Bayard, 2001, 792 pages) quickly become a reference for the Church. The poverty of these songs saddened him so much that they "are full of mistakes (of harmony, of structure, of vocal arrangement, of prosody) that they would bend any student in the first year of musical writing to laugh. This abandonment of the "true liturgy, deep, powerful and effective, based on clear signs speaking to the heart of the faithful before speaking to his intellect" was in his eyes not only a mistake, but a fault. It was explained at length in his study entitled "About the Liturgy" published in 101, pp. 14-16 (January 2003) and 102, pp. 8-11 (June 2003) of the review Point d'Orgue of the "Friends of the Vendée Organ".
As a musicologist, since 1983, Nicolas Gorenstein has published various articles in the excellent Swiss revue La Tribune de l'orgue by our friend Guy Bovet, notably "The Classical French Organ: notes on the Grand Jeu" (September 1983), "Jehan Titelouze, the true birth of the French classical organ" (June and September 1984), "The French Post-Classical Organ of the Spiritual Concert in Cavaillé-Coll" (March 1987 to December 1989) which was the subject of following a one-volume edition (Chanvrelin, 1993), "The Organ of Captain Nemo" (January 1990), "Jacques Boyvin, Gaspard Corette: two great Rouen organists (1991-1992)", "Some notes on electric traction "(December 2000)," Berlioz and the organ, a rehabilitation "(2005-2006) ... and an interesting article written in a humorous tone entitled" The accompaniment of the month "in which he denounces the vulgarity and mediocrity of current church music techniqu It is badly done, and it abandons Bach, Palestrina, Carissimi, Delalande, Rameau, Schubert, Mendelssohn for the benefit of new authors of liturgical music such as Father David Julien and the famous Jo Akepsimas, approved by the CNPL, among others. a whole host of fashionable writers from Ennio Morricone to Lou Bega (March 2004). These lines are somehow following the study on this same subject previously published in Point d'Orgue. In the journal L'Orgue, he is also responsible for several papers: "The Guilain case" in 1995 (No. 235), "The Tutti a registration that does not exist" (No. 236) and an important essay of more than 100 pages on "Troubling, a problem of interpretation of French music in the light of old tables" recently published in 2012 (No. 297).
In 1993 and 1994, he published at the Editions du Triton, works for organ by Louis Couperin, Gaspard Corrette (Messe of the 8th tone), Nicolas de Grigny (Organ book n ° 1), François Dagincourt and Claude Balbastre (3 volumes ), then, Editions Musicales Chanvrelin (boulevard Saint-Marcel then rue du Départ) where, since the creation in Paris in April 1995, he is appointed musical director, a position he will occupy just after his death.
This is how we owe him since the publication of nearly 80 works mainly from the classical and post-classical period, with some incursions in the Renaissance (Pierre Attaingnant, Guillaume Costeley, Claude Gervaise ...) and the period contemporary, and essentially for organ, thus covering the sixteenth century period to Germain Rivière (1907-1983) with French authors (Balbastre, Batiste, Beauvarlet-Charpentier, Benoist, Chausson, Chauvet, Clérambault, Collin, Corrette, Couperin, d 'Angelebert, Daquin, Dubois, Gigault, Gueit, Guilain, Lasceux, Lebègue, Lemaigre, Marrigues, Miné, Raison, Séjan, Thomelin) and foreigners (Albrechtsberger, Boyce, Croft, Czerny, Fischer, Greene, Haendel, Krebs, Kuhnau, Marpurg, Rinck, Seger, Telemann, Vogler, Werner). He himself publishes in this publisher five books of great interest in which he deals with a lot of relevance several topics particularly close to his heart: "The interpretation of Bach in the" Great French School Organ "1900-1960" , "Bach and the sixteen feet", "Jacques Boyvin: an introduction to his two books of organ", "The post-classical French organ - the spiritual Concert in Cavaillé-Coll", "Edouard Souberbielle, a Master". This last volume, in which he analyzes the art of his Master, is a reprinted with some additions of the important work of Alexis Galpérine: Edouard Souberbielle, a Master of the organ (Editions Delatour France, 2010) in which is included in this study (pp. 233-289).
As an interpreter, Nicolas Gorenstein mainly recorded in 1996-1997 "The post-classical Parisian organists" (pieces by G. Lasceux, GF Couperin, J.-J. Beauvarlet-Charpentier, F. Benoist and A.-C. Fessy) on the organs of Saint-Maximin-la-Sainte-Baume, St-Rémy-de-Provence, Albi and Luçon, (Syrius disc, box 2 CDs) which will earn him this criticism of Hervé Elie in The World of Music ( November 1997): "Nicolas Gorenstein plays with perfect taste, doing neither too much nor too little. He has chosen four magnificent instruments whose sounds are best suited to these musics. In another box of 3 CDs "The Organs of Paris: from Couperin to Messiaen" (1992), which includes many works by twenty or so renowned organists, there are also 5 pieces by J.-J. Beauvarlet- Carpenter and one of G. Lasceux interpreted by his care at Saint-Jacques-du-Haut-Pas (Erato 2292458672) and at Chanvrelin, in 1999, he recorded on this same instrument "Pieces to the Virgin of Titelouze" (Hymn Ave Maris stella and the Magnificat of the 1st, 4th and 7th tone.) He still owes the composition of a Sonata which had been awarded in 1977 at a competition of the "Friends of the Organ", as well as a transcription for organ of the opening of The thieving magpie of Rossini.
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