Nazard (Suite Française)

Suite Française (1948), like the Suite Brève, shows the influence both of the Cavaillé-Coll organ and of French Classical suites. The work demonstrates Langlais's increasing independence as a composer in enlarging upon earlier forms. Like Tournemire's Suite Évocatrice, Langlais's new work systematically borrows elements of the Classical French repertoire for a contemporary expression. Though retaining the seventeenth and eighteenth century practice of naming movements according to the organ registration, Langlais did not restrict himself to one key as Classical practice demanded. Also omitted was the earlier practice of using dance rhythms as a unifying device. What remains is the flavor of the Classical colors and the mood of the type of piece they represent.

Nazard, the second movement in Suite Française, is a modern version of Clérambault's Récit de nasard, meaning a solo for this stop in the treble register. Combined with a Flûte 8, the Nasard 2-2/3 sounds an octave and a fifth above the Flûte, giving it a pleasant nasal color. The hollow open-fifth timbre of this combination is enhanced by the open fifths in the accompaniment. The plaintive modal theme flows onward in a tranquil, moderate tempo, with frequently shifting tonality.

(Notes from “Jean Langlais: the Man and his Music,” by Ann Labounsky)