One of a regular series of recitals at Notre-Dame du Mont, Marseille. The current instrument was built to the French Romantic style and installed by Alexandre Ducroquet in 1847; this was following harsh criticism of the previous Instrument by Frédéric Chopin, who played at the funeral of a friend. Today’s organist, Vincent Boccamaiello (standing on the right of my photo), is of a Marseille family of distinguished organists. His improvisation started the recital in a restrained mode, using reed stops with a full and rounded tone but much brighter than an English instrument. The following Ritournelle contrasted sharply, his registration using the stunning festive stops of this French instrument. The organist’s assistant was busy though the selection of Rameau’s Hippolyte et Aricie working a lot of the instruments capabilities, including a selection of 16’ bass pedal stops.
Vincent Boccamaiello returned to more restrained sounds for the Buxtehude Chaconne, but again showed the Romantic strengths of the instrument in the Witte Chaconne and Fugue.
Finally, and after a pause for parish announcements, and the clock chime, Vincent Boccamaiello worked out the instrument in a fine performance of JS Bach’s E major Fantasia, again with progressive registration and using the full compass of the instrument. There was warm applause from the large audience, many standing. There are about 20 rows of pews in Notre-Dame du Mont, Marseille and each had at least six people, a good level of support, which surprised me.
Vincent Boccamaiello at the organ of Notre-Dame du Mont, Marseille
Plein-jeu improvisé
Jean-Phillipe Rameau: Hippolyte et Aricie, Act III scene 1: Ritournelle, Les Indes galantes, nouvelle entrée. Scene 6: Chaconne
Dietrich Buxtehude: Chaconne in E minor, BuxWV 160
Christian-Friedrich Witte: Chaconne & Fugue in E minor
Jean-Sebastien Bach: Fantasie in E major
