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เข้าร่วมเมื่อ 18 ก.ย. 2010
Sarah Soularue plays Franz Liszt at Saint Ouen in Rouen
Sarah Soularue plays Franz Liszt's Variations on "Weinen, Klagen, Sorgen, Zagen" on the great Cavaillé-Coll organ of Saint-Ouen Abbey church in Rouen. This piece is an excerpt of a concert given September 11, 2016.
Franz Liszt's eldest daughter Blandine, who had married the French politician Émile Ollivier in 1857 in Florence, died on September 11, 1862 at age 26 in dramatic circumstances. She had given birth to a son, Daniel, on July 3 of that year. After a normal pregnancy and easy delivery in the home of her brother-in-law and surgeon Charles Isnard, she breast-fed her baby with no problem until August 3 when she developed an engorgement on her left breast. In spite of daily care provided by Isnard, he was compelled to operate on August 16 for a breast abscess. Her medical condition then worsened irremediably until she died.(1)
At the end of September, Ollivier, still in a state of shock, travelled to Rome in order to give Liszt a first-hand account of Blandine's last days. Liszt put him up in his apartments at Via Felice 113, where the two men shared their grief.*
Liszt brought forth his Variations on "Weinen, Klagen, Sorgen, Zagen" during this very period of turmoil with Ollivier and the shared anguish over the loss of his daughter. The emergence of such a piece in the second half of 1862 was not accidental. It is best understood as a symptom of the grieving process, and like so much else in Liszt's output, this music is really autobiographical. Liszt found in the first movement of Bach's cantata "Weeping, Wailing, Mourning, Trembling" a wonderful vehicle for his grief. He composed his own variation on its ground bass (that Bach also used in the Crucifixus of the B minor Mass)*.
(1) The precise circumstances of Blandine's unexplained death are detailed in Dominique Mabin's article "La mort inexpliquée de Blandine Liszt Ollivier" www.biusante.parisdescartes.fr/sfhm/hsm/HSMx2014x048x002/HSMx2014x048x002x0245.pdf
* Text of these two paragraphs is an excerpt from "Franz Liszt, the final years 1861-1886" by Alan Walker, Cornell University Press, Ithaca, New York, 1997.
Sarah Soularue joue les Variations sur "Weinen, Klagen, Sorgen, Zagen" de Franz Liszt sur le grand orgue Cavaillé-Coll de l'église abbatiale Saint-Ouen de Rouen. Cette pièce est extraite d'un concert donné le 11 septembre 2016.
La fille aînée de Franz Liszt, Blandine, qui avait épousé le politicien français Émile Ollivier en 1857 à Florence, mourut le 11 septembre 1862 à l'âge de 26 ans dans des circonstances dramatiques. Elle avait donné naissance à un fils, Daniel, le 3 juillet de cette même année. Après une grossesse normale et un accouchement facile au domicile de son beau-frère Charles Isnard qui était chirurgien, elle allaita le bébé sans problème jusqu'au 3 août où apparut un engorgement du sein gauche. En dépit des soins quotidiens prodigués par son beau-frère, ce dernier fut contraint de l'opérer le 16 août d'un abcès au sein. Son état de santé ne cessa dès lors de s'aggraver jusqu'à son décès.(2)
Vers la fin du mois de septembre, Émile Ollivier, toujours en état de choc, se rendit à Rome pour rapporter à Liszt une fidèle description des derniers jours de Blandine. Liszt l'installa dans ses appartements, Via Felice 113, où les deux hommes partagèrent leur chagrin.*
C'est précisément pendant cette période de désarroi et d'angoisse partagée avec Émile Ollivier que Liszt produisit ses Variations sur "Weinen, Klagen, Sorgen, Zagen". L'émergence d'une telle pièce dans la seconde moitié de 1862 n'est pas le fait du hasard. Elle doit être comprise comme le symptôme du processus de deuil. A l'instar de beaucoup d'autres œuvres du compositeur, elle est en quelque sorte pleinement autobiographique. Liszt trouva dans le premier mouvement de la cantate de Bach " Les pleurs et les lamentations, les tourments et le découragement" (BWV 12) un merveilleux matériau pour l'expression de sa douleur. Il composa ses propres variations sur l'ostinato de basse de ce premier mouvement (que Bach a également utilisé pour le Crucifixus de la Messe en si mineur).*
(2) Les circonstances précises de la mort inexpliquée de Blandine sont détaillées dans l'article de Dominique Mabin "La mort inexpliquée de Blandine Liszt Ollivier", www.biusante.parisdescartes.fr/sfhm/hsm/HSMx2014x048x002/HSMx2014x048x002x0245.pdf
* Le texte de ces deux paragraphes est extrait de "Franz Liszt, the final years 1861-1886" by Alan Walker, Cornell University Press, Ithaca, New York, 1997.
Franz Liszt's eldest daughter Blandine, who had married the French politician Émile Ollivier in 1857 in Florence, died on September 11, 1862 at age 26 in dramatic circumstances. She had given birth to a son, Daniel, on July 3 of that year. After a normal pregnancy and easy delivery in the home of her brother-in-law and surgeon Charles Isnard, she breast-fed her baby with no problem until August 3 when she developed an engorgement on her left breast. In spite of daily care provided by Isnard, he was compelled to operate on August 16 for a breast abscess. Her medical condition then worsened irremediably until she died.(1)
At the end of September, Ollivier, still in a state of shock, travelled to Rome in order to give Liszt a first-hand account of Blandine's last days. Liszt put him up in his apartments at Via Felice 113, where the two men shared their grief.*
Liszt brought forth his Variations on "Weinen, Klagen, Sorgen, Zagen" during this very period of turmoil with Ollivier and the shared anguish over the loss of his daughter. The emergence of such a piece in the second half of 1862 was not accidental. It is best understood as a symptom of the grieving process, and like so much else in Liszt's output, this music is really autobiographical. Liszt found in the first movement of Bach's cantata "Weeping, Wailing, Mourning, Trembling" a wonderful vehicle for his grief. He composed his own variation on its ground bass (that Bach also used in the Crucifixus of the B minor Mass)*.
(1) The precise circumstances of Blandine's unexplained death are detailed in Dominique Mabin's article "La mort inexpliquée de Blandine Liszt Ollivier" www.biusante.parisdescartes.fr/sfhm/hsm/HSMx2014x048x002/HSMx2014x048x002x0245.pdf
* Text of these two paragraphs is an excerpt from "Franz Liszt, the final years 1861-1886" by Alan Walker, Cornell University Press, Ithaca, New York, 1997.
Sarah Soularue joue les Variations sur "Weinen, Klagen, Sorgen, Zagen" de Franz Liszt sur le grand orgue Cavaillé-Coll de l'église abbatiale Saint-Ouen de Rouen. Cette pièce est extraite d'un concert donné le 11 septembre 2016.
La fille aînée de Franz Liszt, Blandine, qui avait épousé le politicien français Émile Ollivier en 1857 à Florence, mourut le 11 septembre 1862 à l'âge de 26 ans dans des circonstances dramatiques. Elle avait donné naissance à un fils, Daniel, le 3 juillet de cette même année. Après une grossesse normale et un accouchement facile au domicile de son beau-frère Charles Isnard qui était chirurgien, elle allaita le bébé sans problème jusqu'au 3 août où apparut un engorgement du sein gauche. En dépit des soins quotidiens prodigués par son beau-frère, ce dernier fut contraint de l'opérer le 16 août d'un abcès au sein. Son état de santé ne cessa dès lors de s'aggraver jusqu'à son décès.(2)
Vers la fin du mois de septembre, Émile Ollivier, toujours en état de choc, se rendit à Rome pour rapporter à Liszt une fidèle description des derniers jours de Blandine. Liszt l'installa dans ses appartements, Via Felice 113, où les deux hommes partagèrent leur chagrin.*
C'est précisément pendant cette période de désarroi et d'angoisse partagée avec Émile Ollivier que Liszt produisit ses Variations sur "Weinen, Klagen, Sorgen, Zagen". L'émergence d'une telle pièce dans la seconde moitié de 1862 n'est pas le fait du hasard. Elle doit être comprise comme le symptôme du processus de deuil. A l'instar de beaucoup d'autres œuvres du compositeur, elle est en quelque sorte pleinement autobiographique. Liszt trouva dans le premier mouvement de la cantate de Bach " Les pleurs et les lamentations, les tourments et le découragement" (BWV 12) un merveilleux matériau pour l'expression de sa douleur. Il composa ses propres variations sur l'ostinato de basse de ce premier mouvement (que Bach a également utilisé pour le Crucifixus de la Messe en si mineur).*
(2) Les circonstances précises de la mort inexpliquée de Blandine sont détaillées dans l'article de Dominique Mabin "La mort inexpliquée de Blandine Liszt Ollivier", www.biusante.parisdescartes.fr/sfhm/hsm/HSMx2014x048x002/HSMx2014x048x002x0245.pdf
* Le texte de ces deux paragraphes est extrait de "Franz Liszt, the final years 1861-1886" by Alan Walker, Cornell University Press, Ithaca, New York, 1997.
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Sarah Soularue in concert, Southwark Cathedral, London.
มุมมอง 9K11 ปีที่แล้ว
Sarah Soularue plays Jacques Ibert's "Pièce Solennelle" in concert at Southwark Cathedral, London, on October 15, 2012. This piece that Ibert dedicated to his wife was played in 1919 for their wedding by Eugène Gigout at Saint-Ferdinand-des-Ternes church in Paris.
Sarah Soularue plays the historic organ in Valloires Abbey church
มุมมอง 15K12 ปีที่แล้ว
Sarah Soularue plays Louis-Nicolas Clérambault's "Suite du premier ton" at the historic organ of the Valloires Abbey church, France (2012/04/15). For this concert, Sarah Soularue also played works by J.S. Bach, A.P.F. Boëly, Jehan Alain and Louis-Claude Daquin. The magnificent and unique paneling in the church, including the organ gallery and case, was created by the Austrian sculptor Baron Sim...
Sarah Soularue in concert at the Limoges cathedral Gonzalez organ
มุมมอง 17K13 ปีที่แล้ว
Sarah Soularue plays Charles Tournemire's "Improvisation on Ave Maris Stella" reconstituted by Maurice Duruflé at the great organ of Saint-Étienne cathedral in Limoges, France (2011/07/10). For this concert, which was the opening of the 5th organ festival at the cathedral, Sarah Soularue also played the Prelude and Fugue on B.A.C.H by Franz Liszt, 5 Antiphons and 4 Verses on Ave Maris Stella by...
Sarah Soularue in concert at the great Cavaillé-Coll organ at St. Ouen
มุมมอง 197K14 ปีที่แล้ว
Sarah Soularue plays the Final of Louis Vierne Symphony No 3 in concert at the great organ of Saint-Ouen Abbey Church in Rouen (2010/09/05). Aside from the entire Vierne 3rd Symphony, the program for this opening concert for the 2010 season of the Comité Normand du Récital d'Orgue included J.S. Bach Toccata and Fugue in D minor (BWV 538), Charles Tournemire Fantaisie-Improvisation sur "Ave mari...
I would still be holding that last chord at full organ.
Some 20 years ago I played this instrument for a concert. Arguably the greatest of the Masters Organs , combined with the acoustic that echos the past Masters performances. It is breathtaking to hear, no recording can do this stupendous Organ justice, Vivre La France and all her musical daring over the centuries !. Bryan Hardy
SPLENDIDE QUELLE TECHNIQUE ..VRAIMENT MAGNIFIQUE ET QUEL ORGUE !!!!!
Love her face as the Contrabombarde is pulled right at the end! A picture of happiness :-)
Magnifique, quel talent, merci Madame Soularue !
Love how her console assistant pulled the 32’ Bombarde at the end!
Magnifique interprétation de cette finale. Félicitations Sarah.
Very well done !
Absolutely stunning.
The acoustics are magnificent; a perfect compliment to the artistry that is her performance.
This is an excellent performance, with very high recording quality! I noticed that there is a copyright claim on this video; some music in this video has been falsely identified as a passacaglia on "When Jesus Wept", played by Hansen. If you still check this channel, you should challenge that claim. Either this video can be made ad-free, or if you want the revenue, it can go to you, rather than to someone else who owns nothing related to this video.
ça c'est de l music
SUPERBE, fabuleux !!!!
Its really really hard to hear unless you have some quality headphones but when the assistant pulls the 32' Soubasse at the end you can hear just a tiny bit of something added to the sound, Just a little bit more gravitas
In my estimation, it is still the world's greatest organ. It has the majesty and cohesiveness to carry the sound no matter how aggressive or reticent. After hearing this grand instrument in person among other Cavaille-Coll instruments, it still stands out as his greatest achievements. He is the greatest of all the world's organ builders.
Esta música sublime muestra que incluso en una alcantarilla mental como el catolicismo, pueden florecer hermosas plantas !
The people with her pull stops for her and do NOT play pedals . Whoever said this knows nothing about organ playing ! This woman is phenomenal.
They've been known to use the ventils though ;-)
Thrilling. You put the "hot" in fire. Thanks for sharing your heart with all of us.
Sheltering from a deluge, around 25 years ago, we wandered into St Ouen to hear this wonderful organ being played. No chairs in the nave; just huge empty space, a thunder-storm outside: it was a sublime experience. Thank GOD for the civilised World!
grandissima interpretazione organo meraviglioso bravissima
I performed this piece at St. Patrick's Cathedral in New York. In 2004 I had a chance to play this instrument at St. Ouen and there is no console, per se. The control desk is built into the casework. Assistants are needed because there are no pistons and/or presets. French organs of this type also do not have the luxury of super and sub couplers, and, never is there a crescendo pedal. Playing these beauties takes real work. Nice job in the performance, too!
George Murphy I agree with you, but this organ has a Swell pedal and Suboctave and Octave couplers, unlike some other French Romantic organs.
Amazing!
Se magnifique, Madame Soularue.
The reverb is stunning!
le grand Cavaillé-Coll de St Ouen de Rouen est immense, cet enregistrement en témoigne à nouveau, comme plusieurs autres ; je le place au-dessus de St Sulpice à Paris, et même de St Sernin de Toulouse. l'Abbatiale a aussi pour elle un charme immense, avec cette grande nef dépouillée de tout, puisque St Ouen n'est plus dédiée au culte ; grande luminosité, parois de calcaire blanc dans lequel sont incrustés d'innombrables silex noirs. Et puis cet instrument, haut perché comme innaccessible, d'où tombe cette musique...Je suis sous le charme de St Ouen . Louis Vierne est-il venu jouer à St Ouen ? Sa 3eme symphonie y sonne superbement, merci Sarah Soularue, c'est réussi.
I think this is about the tenth time I've throughly enjoy this moment in time. Thank you so much for sharing.
Wonderful playing on this fabulous T C Lewis Organ with its majestic choruses. It stands today as a rebuke to Lewis's detractors at the time he built it.
It has always amazed me how Cavaille-Coll could make a Pedal Boudon 16' that seems to magically adjust to fit what ever sound level it is supporting. Anyone know how he did it?
Fantástica interpretação Madame Sarah Soularue!
Madame Soularue, vous êtes une virtuose! Avez vous déjà jouer à Notre Dame de Paris, je suis sur que vous y feriez merveille!
Beautiful!!! Greetings from the USA.
Somptueux ! Bravo
I cannot find the words to express how thrilling this Vierne piece is and Sarah Soularue's technique is extraordinary, and of course, this Cavalle-Coll instrument is magnificant. I have watched this many times and each time I am left in a transfixed state and appreciative of the art only a great civilization (French) can produce.
Para tocar este órgão tem que competência e acima de tudo explorar sua potência. Sarah Soularue foi impecável em sua exibição. Parabéns, merci!
Nice job! Thank you for sharing your superb performance. Merci Sarah !
It's a relief to hear this at this tempo; my own score recommends 120 for some horrible reason!
spinetingling perrformance by Ms Soularue on this superb organ. Thank you
superbement filmé
Having lived in a vacuum in Montana I am only now listening to this wonderful playing. Sarah and Olivier this is truly spectacular
Thank you ever so much for such a brilliant performance..I am 66 years old and have listened to all the french organ repertoire for years even all these pieces played by mu uncle who had studied with Marcel Dupré and Charles Tournemire in Paris! You are a great exponent of that music we cherish so much and now realizing that it will NEVER get out of style thanks to you and others who who have LE FEU SACRÉ..as they say in French. Keep giving us so much enjoyment. I am Michel from Montréal Canada.
Lovely program... ALL my favorites... (where was I...?) and pieces I just ADORE playing!
+ Jhr. Humphrey. Magnifique
BRAVO SARAH !!!
bello!?
madame you are dynamite nitro glycerin!!!
Definitive! Thank you Sarah and team for sharing. This will stand the test of time. CVD
Stunning! A marvelous performance on a grand instrument. Thanks!
Brilliantly played! I am a big fan of the pipe organ. But I'm a little bit concerned to those unfamiliar with the grand pipe organ; who deliberately commented about the two people assisting Mme Soularue during performance--complaining that she was being helped 'playing' the notes on the pedals (needless to say the comment is here below). And I suspect there are--or will be--some others who may also criticize some of the left part keys on the manuals 'playing' by themselves. It is such a pity that they have no idea about the mechanism of the pipe organ. And so I think it is necessary to arrange a performance in order to introduce the pipe organ to them; the ones who are still out there wondering to themselves about this magnificent musical instrument. They have to be advised that no such cheats can happen in playing the organ. I hope the organ music can be known to and loved by everyone.
At first I thought it was a bit fast, but I was proved quite wrong. What a fine performance on one of the most exciting and beautiful instruments anywhere in the world! I had to laugh when the registrant drew the 32' Soubasse on the last chord and Mme Soularue glanced over, smiled, and shrugged as if to say, "Sure, why not?"
Dear Justin Fries; I saw what you meant about the, "Sure, why not." That's what I call "insight." Clever boy! If I may, might I ask you a question related to both acoustics and organ technique. It goes something like this: from where this work was recorded (in the organ loft I presume), doesn't it sometimes like the pedal is lagging behind? The fundamental is slightly off. I was thinking about sharing this with Sarah, but... maybe I'm just trying understand how I would play this work. Learning... never ends and why not learn from the best? CVD
EXACTLY! Who could resist with that open 12th at the end!
Thank you, I was wondering what that "special sauce" was the assistant tossed in there at the fin. Loved her response too! I'm not an organist...so thanks!
@@robhoffhines630 I think the special sauce was mostly the 32' Bombarde added at 6:13. The Soubasse was the equivalent of adding "impulse power too" to the warp engines in Star Trek: th-cam.com/video/sFGmhvx1elk/w-d-xo.html
Fantastic performance, excellent organist and excellent organ! :)