Miss Trombetta played this every week during olph 20 minute Communion time w 3 priests. God bless you zmiss Trombetta, now playing the organ in heaven!
How many times have I listened to this movement in a concert or online, played by all the illustrious names in the field of organ music! You chose the most wonderful sampler, you're playing it like it hugs the listener. Your tempo, your phrasing, the registrations ... I never want it to stop, never!
For Marie Trombetta who played this selection every week. My dad was choir tenor ask her the name of this piece. He was too embarrassed to ask. Took me 40 yrs to get the answer!❤
What an exquisite rendition. I played the full Suite on my Junior Recital in College and use this piece in church and for weddings. I like the slower tempo. Thank you!!!
One of these days, I'll have to by the CC-Mutin/Metz sample set for my HW setup when I can get the fundage available...just love the sound of these French symphonic organs! Great playing ! Good luck as always and thank you for inserting wonder organ pieces for all to listen to and admire !
Das ist ein sehr schönes Orgellied, welches viele Harmonien besitzt. Leon Boellmann ist schon mit der beste französische Komponist, den Ich kenne mit Louis Vierne und Alexandre Guilmant. Die Lieder der französischen Romantiker sind mit die besten.
Hearing this I feel reconnected to my life studying in Paris. Now I look forward to a productive future -- undertaking creative projects that rise above the cynicism and shallow consumerism of our time. This music is a candle in the darkness. "Walk on, walk on, with hope in your heart..." (all apologies to Jerry Lewis who was a weepy mess when he got around to this song during his telethons)
I love how this recording is in G compared to the original which in Ab. It makes it feel more beautiful. Also, the tempo is perfect. This piece should definitely not be rushed at all.
@goodchappy : Thank you very much! This is Durand edition. When I first learned this piece, I played it from another score and that note was different. Perhaps this one here is a misprint.
Ich spiele es immer wieder gerne. Liebe die französische Musik. Hätte allerdings gerne eine echte Pfeiffenorgel dafür. Hab leider nur eine elektrische. Danke fürs einstellen hier. Das Stück strahlt Ruhe aus...
Léon Boëllmann - Prière à Notre Dame Uploaded on 9 Aug 2011 from Suite Gothique, Op. 25 Composed in 1895 Performed by Dragan Trajer on virtual Mutin-Cavaillé-Coll organ of Notre-Dame de Metz. Category Music APR 10, 2016
I have a question about for example the first line. You play this on one manual only but there is an Eb that has to be held while the right hand should play the Eb as well. How to do that?
Mir kommen die Tränen! So wunderschön! Ich werde mir an Ihrer Interpretation ein Beispiel nehmen. Habe ich richtig gesehen? Hauptwerk CC-Mutin/Metz? Ich bin daran, die Suite Gothique zu erlernen...
@mrSymphonic I think that is a misprint, having listened to this peice so much, most people play it with that A# as A. I must confess my performance of this was not very good but if you saw what I had to do to play it you would see why. I would go as far as to say your performance is the best on TH-cam.
I've just recently become aware of this piece through a "Requiem" compilation CD I have. This, by far, is one of the best interpretations I have heard. You, sir, are quite an organist and I would love the opportunity to hear you play live in-person if you're ever in New York.
Cette édition comporte deux erreurs (qui sont d'ailleurs jouées ici par l'interprète) : - mesure 26, 5° temps de la mélodie : il faut lire la bécarre et non la # - mesure 49, première note de pédale : il faut lire si b et non la b
Absolutely brilliant! You play very well and the registration was perfect. Your version is written differently to the one I have and there is 1 note that is different on your score @2:43, I thought you were playing it wrong but you weren't according to your score. I don't know why I didn't subscribe to you before :-)
This tempo is not just slow, which the "Prière" should be; -it's dragging its feet without any momentum or cohesion. Why not play this beautiful piece on an organ instead on this dreadful sounding electronic boom box ?? The beautiful solo voice is completely drowned in a hash or mish-mash of stops.
You seem to be a rather bitter person (I took a look at your other comments via your Feed). Odd... I made it from the beginning all the way to the end... that wouldn't be possible if there wasn't any momentum, would it? Try to understand that there are actually people out there who take much, much time while they pray (meditate)... perhaps you've never done anything like that? It certainly is not too slow - it sure can be played much slower than that. Anyway, if I played it too slowly for your taste, blame Mr. Boellmann: he was the one who put 'Tres lent' instead of 'Non troppo lento' or a French equivalent of that or something that gives the idea. To play it on a pipe organ? That would make it sound good? Personally, I've heard pipe organs which are more dreadful sounding than this 'boom box', as you seem to call anything that doesn't have pipes (with the exception of the Atlantic City Convention Hall organ, though). Whether you like it or not, boom boxes are musical instruments, too. But you don't have to listen to them if you don't want to. Just like you don't have to listen to opera if you yourself can't stand it, yet others are able to enjoy it.
mrSymphonic The point is not that this piece of music is played slowly. That's no crime, but all music must have a certain flow, -in short it has to move forward at some pace. Music doesn't exist on the printed sheet, but only when played. This rendition has no flow at all. The very opening bars are like someone getting his feet caught in sticky asphalt and trying to pull them loose with great effort.. As for the "instrument": -by an organ is meant, of course, what the Americans so naïvely call a "pipe organ". To call an electronic toy an "organ" is perhaps stretching a definition rather too far. Anyway, you don't at all manage to bring out the beautiful solo voice, which is supposed to stand out clear and easily recognisable, but you, as I said, make a hash of it all. The bigger and louder, the better, seems to be the American creed. Boellman himself deliberately prescribed a string-voiced stop, a gamba and a celeste for the solo, -for the left hand a flute or a bourdon 8 foot, -certainly not a tutti for both hands. You would be well advised to listen to Simon Lindley on Naxos playing this music on the organ in Leeds parish church. this is a "pipe organ", naturally.
I wanted it to be very expressive and meditative, even sustained at some places, especially the beginning. It is only natural, to an activity like a prayer/meditation. One sits down and begins to focus. I see this composition as an artistic rendering of what it's named - prayer. I'm sorry, but there is no solo voice here, at least not in the score edition from which I played (the one on the screen). I started with Gambe and Voix celeste with Superoctave coupler, with closed swell box, both hands on Recit, as indicated (with the exception of Superoctave). The Vox celeste on Superoctave creates a very lovely effect on this virtual organ. I followed the stop and coupling indications as written, from beginning to the end. I did encounter other score editions, which prescribe the left hand on Recit and the right one on Grand orgue, however, that is not the case in this one. It differs from those in that regard, but I (and many others, it would seem) feel the effect is quite good with this arrangement as well.
mrSymphonic I appreciate your answer, but it seems incredible to me that anyone could even think of coupling and/or playing the right and the left hand on the samne manual. It ought to be clear that the voices for the left hand are to be taken as accompaniment to the melody in the right hand, which it accordingly may justifiably be called a solo voice, -albeit it's not a cantus firmus.
+Blightyish I know I am very late into this discussion, but considering the second voice on the treble staff, I would actually not find it that incredible that the right and left hand would be played on the same manual... And if not, I'd say the manuals would/should have the same registers active... Personally I find this interpretation of this piece quite excellent, albeit contrary to you, a bit fast at times... I guess a matter of personal preference! :)
![กินอาหาร ถูก vs แพง!! จานละ 500,000 vs จานละ 50!! [Ver. 2024]](http://i.ytimg.com/vi/FF_HppKg4vs/mqdefault.jpg)
0:46 “ADVANCED PLAQUE ENTANGLEMENTS” second bliss moment
Ok
Yes
It's the correct melody. I hope the sample gets found soon.
This song's use in Everywhere at the end of time Stage 5 was amazing, props to Leyland Kirby.
it’s weird hearing the original sample ngl
Where is it though.
@@beepbeepimasheep237beepbee3 this song appears at 5:51 in stage 5
@@Dawnthessb2gamerYT Yeah it's really slowed down and needs to be pitched up.
@@Dawnthessb2gamerYT Right now I learned Was it a Dream, and now I'm learning this.
Miss Trombetta played this every week during olph 20 minute Communion time w 3 priests. God bless you zmiss Trombetta, now playing the organ in heaven!
Thank you, Mr Symphonic! Beautifully performed! Holy Mary, Mother of Christ, please pray for us!
"The Prayer to Our Lady"
What a beautiful name for a beautiful piece.
It’s actually religious monuments in France but it’s true that it is Beautifu
I am listening to this while I weep for the poor Notre-Dame Cathedral in Paris, almost destroyed by a Dantesque Blaze yesterday...
it was arson
I know. It's heartbreaking, and I can't get those images out of my head.
How many times have I listened to this movement in a concert or online, played by all the illustrious names in the field of organ music! You chose the most wonderful sampler, you're playing it like it hugs the listener. Your tempo, your phrasing, the registrations ... I never want it to stop, never!
One of my favorite organ pieces ever, and the title is very fitting!
Beautiful! I listened to it several times and bookmarked it to come back later.
The chosen tempo is an absolute hit, it enhances the beauty of the piece.
Heard this piece for the first time more than five years ago and now I've found it. Thanks!
Many thanks! I hope you get this wonderful set soon.
prawdziwa modlitwa...przepiękne brzmienie organ-dziękuję...
4:34 is the most beautiful moment
Fabulous performance. Kudos to the performer.
SOBIESKI Thank you!
Meget bra musikk bra rytme å nydelig kirkeorgel takk så mye ❤️🌷
1:27
“A Brief Moment Of Bliss, Before You Fall Back Into The Abyss.”
Is it the part used in the first clarity of K1?
@@FriedEgg69 The second clarity
@@Cinemace81 its actually 0:58
@@FriedEgg69 oh I see that now
Ti immerge in una atmosfera surreale,.. grande performance, su un'opera encomiabile ed ispirata.
For Marie Trombetta who played this selection every week. My dad was choir tenor ask her the name of this piece. He was too embarrassed to ask. Took me 40 yrs to get the answer!❤
Absolutely Beautiful ! (Such a Beautiful meditation, all your stress floats away) 😊❤
Wow! Stunning! Perfect! Bravo!
Beautiful! It brought me to tears! Many thanks!
Its been 11 years and no one touched this special comment. Many thanks to the finder!
Just beautiful!
What an exquisite rendition. I played the full Suite on my Junior Recital in College and use this piece in church and for weddings. I like the slower tempo. Thank you!!!
my prayer to Notre Dame Mater Dei is pray for me the sinner Amen
Thank you! You are most kind!
One of these days, I'll have to by the CC-Mutin/Metz sample set for my HW setup when I can get the fundage available...just love the sound of these French symphonic organs! Great playing ! Good luck as always and thank you for inserting wonder organ pieces for all to listen to and admire !
Just great!
Beautiful ❤
I heard this as played in Philly as the interlude for mass on the Feast of the Assumption.
Grazie!
You're very kind!
Play this at every speed at once to have a really good time!
straordinaria, commovente
Das ist ein sehr schönes Orgellied, welches viele Harmonien besitzt. Leon Boellmann ist schon mit der beste französische Komponist, den Ich kenne mit Louis Vierne und Alexandre Guilmant. Die Lieder der französischen Romantiker sind mit die besten.
Its beautiful
Hearing this I feel reconnected to my life studying in Paris. Now I look forward to a productive future -- undertaking creative projects that rise above the cynicism and shallow consumerism of our time. This music is a candle in the darkness. "Walk on, walk on, with hope in your heart..." (all apologies to Jerry Lewis who was a weepy mess when he got around to this song during his telethons)
@goodchappy : Well, thank you! That's very flattering!
Danke!
0:50 stage 5 clarity state 2
( backround ambiance)
0:58 is a time where it is used very clearly in the clarity state.
@@that1toad64 yes i know but the sound starts at 0:50
I love how this recording is in G compared to the original which in Ab. It makes it feel more beautiful. Also, the tempo is perfect. This piece should definitely not be rushed at all.
when was the part used in the first clarity of stage 5 K1?
0:48
Good question
perfect performance !!!
@goodchappy : Thank you very much! This is Durand edition. When I first learned this piece, I played it from another score and that note was different. Perhaps this one here is a misprint.
@PaulWesleyBowen : That's so kind of you to say! Thank you!
0:48 heres the part thats in EATEOT
This sounds more clearer than I'm Following You, although I'm Following You is there when heard closely.
Yup, this definitely overpowers I'm following you.
Ich spiele es immer wieder gerne. Liebe die französische Musik. Hätte allerdings gerne eine echte Pfeiffenorgel dafür. Hab leider nur eine elektrische. Danke fürs einstellen hier. Das Stück strahlt Ruhe aus...
Léon Boëllmann - Prière à Notre Dame
Uploaded on 9 Aug 2011
from Suite Gothique, Op. 25
Composed in 1895
Performed by Dragan Trajer on virtual Mutin-Cavaillé-Coll organ of Notre-Dame de Metz.
Category
Music
APR 10, 2016
Why do you copy paste the video description into a comment?
Prière à Notre Dame
Dragan Trajer on virtual Mutin-Cavaillé-Coll organ of Notre-Dame de Metz.
Beautiful !!!!!!
This matches well with a song called I'm following you By Lawrence Gray
I see what you mean
and i see you everywhere
Fellow cultured person I see.
I have a question about for example the first line. You play this on one manual only but there is an Eb that has to be held while the right hand should play the Eb as well. How to do that?
I really like the way you’ve played this. Comparable to the Marie Claire Alain version. Any chance I could get a score from you?
Thank you! The score is freely available at imslp.org.
better bliss state than was it a dream
Mir kommen die Tränen! So wunderschön! Ich werde mir an Ihrer Interpretation ein Beispiel nehmen. Habe ich richtig gesehen? Hauptwerk CC-Mutin/Metz? Ich bin daran, die Suite Gothique zu erlernen...
@mrSymphonic I think that is a misprint, having listened to this peice so much, most people play it with that A# as A. I must confess my performance of this was not very good but if you saw what I had to do to play it you would see why. I would go as far as to say your performance is the best on TH-cam.
Can you tell me what pitch the organ is set to? Mine is on 440Hz but sounds out of tune against your playing.
I think it s 430hz
I've just recently become aware of this piece through a "Requiem" compilation CD I have. This, by far, is one of the best interpretations I have heard. You, sir, are quite an organist and I would love the opportunity to hear you play live in-person if you're ever in New York.
I have also used this piece for memorial services and it really fits the occasion.
Everywhere at the end of time Stage 5 K1 Advanced plaque entanglements background of clarity 1 and center of clarity 2
Ganz herrlich gespielt.
Cette édition comporte deux erreurs (qui sont d'ailleurs jouées ici par l'interprète) :
- mesure 26, 5° temps de la mélodie : il faut lire la bécarre et non la #
- mesure 49, première note de pédale : il faut lire si b et non la b
0:31 You're listening to Stage 5 in Everywhere at the End of Time.
Absolutely brilliant! You play very well and the registration was perfect.
Your version is written differently to the one I have and there is 1 note that is different on your score @2:43, I thought you were playing it wrong but you weren't according to your score.
I don't know why I didn't subscribe to you before :-)
Beautiful, but listen also to the one played by Daniel Somogyi-Toth on the Organ of the Great Lutheran Church of
Békéscsaba
What a pity it is virtual ☹️
You have some very misguided commenters here who have never prayed before. Beautiful interpretation. Your sense of tempo is wonderful.
At olph qns nyc.
Who's here because of Everywhere at the End of Time?
about 100,000 people or more
Dette er ikke 8 år siden er 147 år siden
Sorry, definitely too slow for me but I do like the registration.
Why, tempo is indicated as "trés lent", and that how it is played.
UN peu trop lente à mon goût, surtout au début, vraiment de quoi s'endormir avant la fin...
This tempo is not just slow, which the "Prière" should be; -it's dragging its feet without any momentum or cohesion.
Why not play this beautiful piece on an organ instead on this dreadful sounding electronic boom box ?? The beautiful solo voice is completely drowned in a hash or mish-mash of stops.
You seem to be a rather bitter person (I took a look at your other comments via your Feed).
Odd... I made it from the beginning all the way to the end... that wouldn't be possible if there wasn't any momentum, would it? Try to understand that there are actually people out there who take much, much time while they pray (meditate)... perhaps you've never done anything like that? It certainly is not too slow - it sure can be played much slower than that. Anyway, if I played it too slowly for your taste, blame Mr. Boellmann: he was the one who put 'Tres lent' instead of 'Non troppo lento' or a French equivalent of that or something that gives the idea.
To play it on a pipe organ? That would make it sound good? Personally, I've heard pipe organs which are more dreadful sounding than this 'boom box', as you seem to call anything that doesn't have pipes (with the exception of the Atlantic City Convention Hall organ, though). Whether you like it or not, boom boxes are musical instruments, too. But you don't have to listen to them if you don't want to. Just like you don't have to listen to opera if you yourself can't stand it, yet others are able to enjoy it.
mrSymphonic The point is not that this piece of music is played slowly. That's no crime, but all music must have a certain flow, -in short it has to move forward at some pace. Music doesn't exist on the printed sheet, but only when played.
This rendition has no flow at all.
The very opening bars are like someone getting his feet caught in sticky asphalt and trying to pull them loose with great effort..
As for the "instrument": -by an organ is meant, of course, what the Americans so naïvely call a "pipe organ". To call an electronic toy an "organ" is perhaps stretching a definition rather too far.
Anyway, you don't at all manage to bring out the beautiful solo voice, which is supposed to stand out clear and easily recognisable, but you, as I said, make a hash of it all. The bigger and louder, the better, seems to be the American creed. Boellman himself deliberately prescribed a string-voiced stop, a gamba and a celeste for the solo, -for the left hand a flute or a bourdon 8 foot, -certainly not a tutti for both hands. You would be well advised to listen to Simon Lindley on Naxos playing this music on the organ in Leeds parish church. this is a "pipe organ", naturally.
I wanted it to be very expressive and meditative, even sustained at some places, especially the beginning. It is only natural, to an activity like a prayer/meditation. One sits down and begins to focus. I see this composition as an artistic rendering of what it's named - prayer.
I'm sorry, but there is no solo voice here, at least not in the score edition from which I played (the one on the screen). I started with Gambe and Voix celeste with Superoctave coupler, with closed swell box, both hands on Recit, as indicated (with the exception of Superoctave). The Vox celeste on Superoctave creates a very lovely effect on this virtual organ. I followed the stop and coupling indications as written, from beginning to the end. I did encounter other score editions, which prescribe the left hand on Recit and the right one on Grand orgue, however, that is not the case in this one. It differs from those in that regard, but I (and many others, it would seem) feel the effect is quite good with this arrangement as well.
mrSymphonic I appreciate your answer, but it seems incredible to me that anyone could even think of coupling and/or playing the right and the left hand on the samne manual. It ought to be clear that the voices for the left hand are to be taken as accompaniment to the melody in the right hand, which it accordingly may justifiably be called a solo voice, -albeit it's not a cantus firmus.
+Blightyish I know I am very late into this discussion, but considering the second voice on the treble staff, I would actually not find it that incredible that the right and left hand would be played on the same manual... And if not, I'd say the manuals would/should have the same registers active... Personally I find this interpretation of this piece quite excellent, albeit contrary to you, a bit fast at times... I guess a matter of personal preference! :)
I'm afraid I'll wake up and find it was only in my mind...
0:31
Wrong song
Wait i’m stupid, you’re correct