# New Organ in Mainz Cathedral - Olivier Latry Recital



## Philidor (11 mo ago)

There is a new organ in the St. Martin’s Cathedral, Mainz.

The underlying plan is a three-part organ landscape:

An organ at the Marienkapelle (St. Mary’s chapel), almost precisely in the middle of the main nave, for leading the congregation’s singing,
An organ in the Eastern Chancel as main organ for the cathedral,
An organ in the Western Chancel for accompanying choirs and orchestras.
Mainzer Dom – Wikipedia

The organ at the Marienkapelle was finished in 2021 by Goll (Lucerne, Switzerland). It has 48 stops on three manuals.

Last weekend, the second organ was consecrated. It is the main organ in the Eastern Chancel. I did not attend this event, because I think it is the local congregation’s event. It is THEIR organ. *EDIT* I should add that the second organ has 94 stops on four manuals. There are additional parts, a "Solo" section and a "Chamade" section. See Wikipedia as above */EDIT*

However, on Tuesday, 23 August 2022, Olivier Latry played a recital on the new organ. I have never seen people queueing up for an organ recital. In our region, you are happy if you find 50 people in an organ recital. For Olivier Latry, you had to register before. We arrived 35 to 40 minutes before the beginning of the recital, at this time people were standing in a line of 100+ metres. We joined the line. Amazing. The cathedral was full to the last seat and beyond.

Latry started with J. S: Bach’s Fantasy and Fugue C minor BWV 537. He made use of crescendo and decrescendo and even applied some 32’ stop for the 2nd pedal point . From the perspective of historical correctness this (and other details) might be regarded as questionable, however, if you are ready to leave your preconceptions, it was just wonderful. Unashamed emotions.

Second piece was “Ave Maria by Arcadelt” in the Liszt version. Not a favourite of mine. Nicely played.

Third was the Choral No. 3 A Minor by César Franck. Latry allowed himself much more freedom than in his recording for DG. Each organ music lover has heard this piece several dozens times, you know ever note by heart, maybe you have played it yourself for your pleasure or in concert … But this one was different. It was a symphonic poem, it was a drama, there was a big line which supported the piece for all of its 15 minutes. So great …

Two short pieces by Vierne served as a bridge to the climaxes of the recital (“Légende” and “Scherzetto” from the “24 pièces an style libre”).

Then “Choral varié sur le Veni Creator" by Maurice Duruflé. Great, spacious, majestic. Latry has warmed up and the organ too.

Jehan Alain, Deuxième Fantaisie. A piece that is a little mad, and Latry played it exactly like this. Wohooo.

Marcel Dupré’s “Cortège et Litanie" was the last composed piece in the recital. It gave the opportunity to show the chimes that are part of the organ. – A great piece of music, however, it left some space for an enhancement.

This enhancement happened: An improvisation. Latry presented the theme, then he left a break followed by great organ playing showing all his virtuosity, his artistry, An improvisation with a wonderful arc of suspense showing the new instrument in the best possible way.

Two encores. The first was the Toccata – right. THE Toccata, no, not Bach, Widor, Symphony No. 5. I have to confess that I never liked this piece too much. Too repetitive for my taste. But Latry played it miraculously. It was not the way that is reported by Widor’s own playing, slower than most, but with a calmness which is out from this world. No, Latry played differently. It was calm, but only at the outside. Internally, it was joyful, it was energetic, it was enthusiastic and excited, despite the outer calmness. Never heard such combination, by any instrument, by any composer, by any musician.

The second was the “Carillon de Westminster” from the “Pieces de Fantaisie” (Louis Vierne). Equally great. Latry rocked the new organ, the sound filled the huge cathedral from bottom to roof. The acoustics of such room is part of the composition. Well, we all know that the organ is never only the instrument, the organ is always the combination of the instrument and the room around it. Here you could feel the truth of this saying. The music responded to its own echo, the room became part of the performance even more than before. Gorgeous.

You can’t get this at home. Now I know why people queued.


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## Kjetil Heggelund (Jan 4, 2016)

Wonderful and descriptive review!


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## Georgieva (7 mo ago)

We extend our thanks to our honorable friend, who invested time, energy and his amazing expertise sharing this revue with us.

In my understanding, this is a brilliant example for one of most valuable contributions to our little community. 
I know Latry only from his recordings. Sadly, I never had a chance to visit one of his recitals but next year I will definitely go. 

Though critics are conflicted I believe he has a true knowledge about the instrument and works he plays (precisely in Bach’s sophisticated polyphonic writing). His interoperations are deep and intimate shows lovely refinement, celebratory rejoice truly heart-warming. Latry always find his own way to show the organ’s full strength, quite literally. 

Hopefully, the historic organ will prove to be able to survive not only time, but also from damages, disasters (well, and and wars too...). Because the _time_ proves the simple true:

Ancient > Мodern

He is one of the truly great organists. Master not in “_dying craft_”, but in a _craft_. With its strong history, _peculiar system_ of knowledge, _secrets _and of course with his future. 

Imagine recital of this Master in his “house” Notre-Dame de Paris…


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