Maybe, she plays with a mind of prayer, therefore in church worship service, she choose suitable speed. This piece, Litanes is not only simple music but also praying.
Alain said of the piece: ‘You must create an impression of passionate incantation. Prayer is not a lament but a devastating tornado, flattening everything is its way. It is also an obsession. You must fill men’s ears with it, and God’s ears too! If you get to the end without feeling exhausted you have neither understood it nor played it as I would want it.’ He was quite clear about wanting it to be very fast, insistent and breathless. For me, though beautifully clear, it’s just not the right feel. The overwhelming feedback for masterclass students who play this piece is ‘too steady’.
Competent if slightly tentative performance. Organ sounds good with some very French mixtures and reeds. The terraced stop arrangement also hints at the influence. I've listened to so many performances of this exciting piece - recordings and live - and still find it thrilling. My favourite two recordings remain Marie Claire Alain's (on many and various organs) and Edward Higginbottom's on the Mander organ of New College, Oxford - from the 1970s.
@@เรียนภาษาอังกฤษวันนี้ That's right. Besides Virgil Fox' approach to the organ is not exactly an example of philology, one good player has to understand the suggestions of each instrument. I can't remember whether on the score I have there is a metronome indication or not, but as far as it is possible, to follow those indications (when put there by the author) is always advisable. In any case I understand and appreciate your point of view, because it demonstrates that behind your choices there is a reason. Too many organists nowadays just play and play, and have no idea of what they are doing.
@@dariogiorgiutti9418 Thank you. Yes and to add to that we also musn't forget roomsize and the length of reverberation. Of course this is videoquality and it's obviously not a professional mic setup (which for an organ like this would require 20.000 dollars worth of microphones) so we can't tell what the real acoustics are. In the case of Alain who was an organist himself he would want us to play his piece differently on a small organ in a damp room than on a large organ in a gothic cathedral.
Excellent speed and wonderful clarity with this performance. One does not need ridiculous tempos. Well done
Maybe, she plays with a mind of prayer, therefore in church worship service, she choose suitable speed.
This piece, Litanes is not only simple music but also praying.
Alain said of the piece: ‘You must create an impression of passionate incantation. Prayer is not a lament but a devastating tornado, flattening everything is its way. It is also an obsession. You must fill men’s ears with it, and God’s ears too! If you get to the end without feeling exhausted you have neither understood it nor played it as I would want it.’
He was quite clear about wanting it to be very fast, insistent and breathless. For me, though beautifully clear, it’s just not the right feel. The overwhelming feedback for masterclass students who play this piece is ‘too steady’.
Competent if slightly tentative performance. Organ sounds good with some very French mixtures and reeds. The terraced stop arrangement also hints at the influence. I've listened to so many performances of this exciting piece - recordings and live - and still find it thrilling.
My favourite two recordings remain Marie Claire Alain's (on many and various organs) and Edward Higginbottom's on the Mander organ of New College, Oxford - from the 1970s.
Please speed up a little! Never heard about a certain Marie Claire Alain...?
I think playing a little slower adds to the wonderful sonorities this organ has. Plus...Virgil Fox also played this piece a little slower.
@@เรียนภาษาอังกฤษวันนี้ That's right. Besides Virgil Fox' approach to the organ is not exactly an example of philology, one good player has to understand the suggestions of each instrument. I can't remember whether on the score I have there is a metronome indication or not, but as far as it is possible, to follow those indications (when put there by the author) is always advisable. In any case I understand and appreciate your point of view, because it demonstrates that behind your choices there is a reason. Too many organists nowadays just play and play, and have no idea of what they are doing.
@@dariogiorgiutti9418 Thank you. Yes and to add to that we also musn't forget roomsize and the length of reverberation. Of course this is videoquality and it's obviously not a professional mic setup (which for an organ like this would require 20.000 dollars worth of microphones) so we can't tell what the real acoustics are. In the case of Alain who was an organist himself he would want us to play his piece differently on a small organ in a damp room than on a large organ in a gothic cathedral.
@@เรียนภาษาอังกฤษวันนี้ Sooo right!!!