Thursday, 29th August, 8.00pmOlivier Latry

Duomo di Ravello

Thursday, 29th August
Le note di Sigilgaita
Ravello Cathedral, 8.00pm
Olivier Latry
Free admission


François Couperin
Offertoire sur les grands jeux from Messe des Paroisses

Ludwig van Beethoven
Adagio assai for mechanical organ

Wolfgang-Amadeus Mozart
Fantasia in F minor for mechanical organ K. 608

Charles-Marie Widor
Marche du veilleur de nuit from Memento Bach

Johann-Sebastian Bach
Fantasia and Fugue in G minor, BWV 542

Eugène Gigout
Aria from Cantate de la Pentecôte

Franz Listz
Prelude and Fugue on B.A.C.H (Jean Guillou version)

Olivier Latry

At the age of 23, Olivier Latry became one of the titular organists of Notre Dame in Paris, succeeding the famous Pierre Cochereau. In the Cathedral of Paris, Latry studied and practised at night on the majestic instrument made by Aristide Cavailé-Coll in 1868 and miraculously spared from the recent devastating fire of the French cathedral. France boasts an extraordinary organ tradition, handed down through teaching at the Conservatory (Latry has been teaching at the CNS of Paris since 1995) and practice in great churches. Latry, through his teacher Gaston Litaize, and from him to Marcel Dupré, goes back to the school of Charles-Marie Widor (1844-1937), the legendary late-romantic organist who held the chair of another exceptional Cavaillé-Coll – the on of Saint-Sulpice – for sixty-four years. His rival, present in this programme with his Bach transcription, was Eugène Bigout (1844-1925), who in turn was a member of the Church of Saint Augustin, also in Paris. We could not skip a tribute to another famous organist and improviser, Jean Guillou (1930-2019), holder of the immense organ of Saint-Eustache for fifty years, with his version of the prelude and fugue on theme B.A.C.H by Liszt. The programme also contains two compositions, the first by Mozart (sublime) and the second by Beethoven for the mechanical organ (an instrument connected to a clockwork mechanism which, at pre-established hours, operated the organ pipes with a cogged roller, on which the music piece to be played had been prepared). They were commissioned by Count Deym who had opened a mausoleum in Vienna with the wax statue of the field-marshall Laudon, surrounded by music boxes and musical clocks, which, unlike Mozart’s music, did not survive their inventor.