Clérambault: Dialogue sur les Grands Jeux (SILBERMANN Organ)

Enjoy this recording on the historical 1745 Jean-André Silbermann organ played by Nenad Leonart, organist. The work is by Louis-Nicolas Clérambault (1676–1749) and is called "Dialogue sur les Grands Jeux" – a typical French organ genre of pieces, which is mostly used for very prominent parts in the French alternatim mass (mostly at the endings).

The recording was made in Wasselonne beginning of April 2023; video audio and playing by Nenad Leonart. Many thanks to the organist Jean-Philippe Grille, who made all of this possible.

Regarding the authenticity and historical accuracy of this recording, following remarks should be made:

1. The choice of registration regarding the pedal contains two modern extensions and was made as an artistic choice rather than a performance practice one. The force and sonority of the pedal adds to the drama of the piece, which was the ultimate argument why it was added. The original organ did not contain a 16' Bombarde (but other J.A. Silbermann organs did). This one was added much later in a restoration. Also, a tirasse (coupling the Pedalle to the Grand Orgue manual) was added much later and is being used here, although not necessary per se.

2. Due to the size of the organ and it's lacking of a solo Cornet stop, the duo-partie is performed on the third manual (Cornet d'écho). This again is not historically accurate but was made as a decision to approach the sound ideal as much as possible. Clérambault himself states that in case a Corned de Récit would be missing, both voices should be performed on the Cromorne. I chose to rather approach the two different colors made by two different divisions and stops. Considering how the sound arrived at the nave where the audience is sitting, this might not have been the optimal choice, since the dB of the écho stop is drastically reduced compared to sitting at the organ console – nonetheless the result is somewhat satisfactory.

3. The choice of registration regarding the "Tremblant Fort", the fast tremulant, is a compromise between historical requirements and modern aesthetics. While it was obligatory to always add a Tremblant Fort to the Grand Jeu (yes dear organists, please consider this in future), in the lighter Duo parts I chose to remove it, on one hand because the sheer wind force on the few stops would distort and detune the Cromorne sound to make it completely unrecognizable. On the other hand the Tremblant made a quite unpleasant loud noise which would be prominent relative to the soft nature of the two solo stops used.

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Louis-Nicolas Clérambault (19 December 1676 – 26 October 1749) was a French musician, best known as an organist and composer. He was born, and died, in Paris.

Clérambault came from a musical family (his father and two of his sons were also musicians). While very young, he learned to play the violin and harpsichord and he studied the organ with André Raison. Clérambault also studied composition and voice with Jean-Baptiste Moreau.

Clérambault became the organist at the church of the Grands-Augustins and entered the service of Madame de Maintenon. After the death of Louis XIV and Guillaume-Gabriel Nivers, he succeeded the latter at the organ of the church of Saint-Sulpice and the royal house of Saint-Cyr, an institution for young girls from the poor nobility. He was responsible there for music, the organ, directing chants and choir, etc. It was in this post—it remained his after the death of Madame de Maintenon—that he developed the genre of the "French cantata" of which he was the uncontested master. In 1719 he succeeded his teacher André Raison at the organs of the church of the Grands-Jacobins.

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