Since the interwar period until the 1960s, the organ in France was largely dominated by Marcel Dupré - the famous rules of execution that he had enacted and which he declared based on a tradition dating back to JS Bach. by Rinck, Lemmens, and Widor, had become an indisputable dogma. Admittedly, no one believes Bach's paternity in this respect. But what about the rest of this filiation? Where do these rules come from? And what part really represents the transmission of the past in the way Dupré played Bach?
With more than three hundred examples and relying on documents that are too little known or overlooked, this book brings us for the first time a real answer to this question. He introduces us to Bach's playing of those whom Dupré claims as his masters, and he unveils, to our great surprise, the missing link - and what happened to it.
(Note from the Ecuador)