Compser of 'H'

Jean Huré (1877-1930)

A French organist, educator and composer. Born in Gien in Loiret prefecture, 17 September 1877. He first studied Anthropology, Composition, Improvisation, and medieval church music by correspondence program administrated by St-Maurille school in Angers. When he was 18 (in 1895), he moved to Paris and met C.Widor and C.Koechlin. Although they two strongly encouraged him to study in the Paris-Conservatory, he decided to be independent and did not enter the concervatory. By 1897, he had contracted a disease (tuberculosis) which would be the fetal one in later of his life. But he still acted energetically. In 1910, he concerned with the establishment of the Ecole-Normale, and educated the pupils such as Ives Nat or Manuel Rosenthal. The following year, in 1911, he also played an important role of the establishment of the Mozart Association. Moreover he contributed a significant role for the foundation of the journal 'organ and the players (l'orgue et les organistes)'. He also enjoyed a distinguished career as an organist. He first appointed an organist at St. Sévelin church (in 1920?) , and in 1924, He become an organist of Sacré-Coeur Church church as a successor of Lucien Grandjany. Furthermore he inaugurated the organist position of St. Augustin church also in 1926 as a successor of Eugène Gigout. He passed away in Paris on 27th January of 1930 (©K.S. 2003).

Main Works

Stage Works A cathedral la cathédrale (1910)
A holy forest le bois sacré (1921)
Orchestral Air Air (1902) {vln, orch}
nocturne (1908) {p, orch}
Symphonic prelude prélude symphonique (-) {orch}
Symphony No.1 symphonie No.1 (-) {orch}
Symphony No.2 symphonie No.2 (-) {orch}
Symphony No.3 symphonie No.3 (-) {orch}
Chamber Childish poems poèmes enfantins (1906) {p/orch}
Cello Sonata No.1 in F# minor sonate pour violoncelle et piano No.1 en fa dièse mineur (1903) {vc, p}
Cello Sonata No.2 in F major sonate pour violoncelle et piano No.2 en fa majeur (1906) {vc, p}
Cello Sonata No.3 in F# major sonate pour violoncelle et piano No.3 en fa dièse majeur (1909) {vc, p}

Sonatine sonatine pour violon et piano (1909) {vln, p}
Suite on the songs of Bretagne
suite sur des chants bretons (1913) {p}
Piano quintet quintette pour piano et quatuor à cordes (1914) {p, 2vln, vla, vc}
Serenade in trio sérénade en trio (1920) {p, vln, vc}
Violin Sonata sonate pour violon et piano (1920) {vln, p}
Sonata for Piano
sonate pour piano (1920) {p/hrp}
String Quartet quatuor à cordes (1921) {2vln, vla, vc}
Te deum te deum (1907) {sop, 2vo, org}
Seven songs of Bretagne region sept chants de Bretagne (1910) {vo, p (orch)}
Ave Maria ave maria (1924) {2f-vo}
A sorrowful heart l' âme en peine (1925) {4vo}
Four letters of women quarte lettres de femmes (1929) {vo, p}
Three Monodic songs trois chansons monodiques (1930) {vo}
Organ Communion for a Mass of the Christmas ceremony communion pour une messe de noël (1914)
Prelude for the head priest of a mass prélude pour une messe pontificale (1915)

Huré Disc Review

"Les Trois Sonates pour Violoncelle et Piano"(Daphénéo : 9812)
Raphaël Chrétien (vc) Maciej Pikulski (p)
Because of his independent personality which did not allow him to belong to the music academism by entering Paris-Conservatory, his name is totally buried from the chart of musical history. But he still held a power behind the throne by concerning with the establishments of various musical associations or institutions of music. Supposingly his real mastery for organ (because he gained the recognition of the famous professors such as Widor or Koechlin) fortunately brought him to enjoy the distinguished career as a organist of the most famous churches throughout Paris although his educational record was not excellent. But it is also partly misfortune for him bacause the carrer made him to be recognized mostly as an organist (not as a real master of composition). This is truly rare recording which sheds the light on his mastery of composition. Therefore it is the fortune for us that the performers are excellent. The two performers previously recorded the cello sonatas of Ropartz and Duparc (which were beautifully performed) and already showed their great abilities. This time is no exception. The cello sounds amorous as an aquiform candy which is dominantly sensual. The compositional diction of Hure resembles Paul Le Flem or Joseph G.Ropartz, inheriting Franckist aroma with Faure-based scent of chromatic scales, which were decorated by the impressionistic harmonies. If one put this works in the field of French modernists and seem it at a distance, one will nod my opinion that his modest and well-ballanced sense of diction is truly attractive.

"Suite Gothique: Toccata (Boëllmann) Scherzo (Gigout) Impromptu / Toccata (Vierne) Communion sur un Noël (Huré) Paraphrase-Carillon (Tournemire) Toccata (Barié) La Vallée de Béhorléguy (Bonnal) Callion Orléanais (Nibelle) Suite pour Orgue / Variations sur un Thème de Janequin / Litanies (Alain)" (Calliope : CAL 9924)
André Isoir (organ)
Mr.Isoir was born in 1935. After graduating Ecole-Franck, he entered the Paris Conservatory where he obtained premier prix for organ and improvisation class in 1960. He has subsequently enjoyed his golden age throughout 1970s, such that he has received french disc award for seven times in the decade. This 1976 recording is an French-moden organist school omnibus. The contents are carefully arranged in chronological order: from typical Franckistic Boëllmann and Gigout, through Franckistic-harmonists Vierne and his pupills, to post modern generation like Alain. Whereas most of the compositions were selected from relatively traditionalistic composers' works, not from post-Dupré idiom, and the former can be characterized as clear romanticism in form with colorful harmonizations, Tournemire's Paraphrase makes a bright distinction with its Florent Schmittian-rooted heretical savage aura mixed with mythological nobleness. Through the performer's skilled fingers, glittering shower of paraphrases falls down on form in full of improvisational rhythm. Carefully-constructed undulations never make the tune be dull despite of its length (10 minutes). This piece also proves Isoir's deep understanding and masterly as a performer. Although of improvisational nature of the work, he perfectly read the riddle of it. It is the real fortune for the selected rare composers that theirs were recorded by such an skilled organist.

(First Updated : 2003. 4. 19)