Merci Loriane ,Pour cette belle interprétation !! je regrette le temps où🤣 vous étiez en résidence au CMBV ! et vos très bonnes interprétations ! Comme Lucille Dollat ! une jeune et prometteuse génération !
OMG I urge people to listen to this piece all the way through... The blood, anguish and sorrow wrought large through gritted teeth of Buxtehude's brutal and sparse times... rendered with humility and grace. Fantastic arse-kicking yet sensitive performance / execution. Like juggling a bowling ball, a chainsaw and an egg … AND not breaking the egg ;-)
Great job! Those cowards who dislike this video, as usual, haven't the nerve to say what's wrong... That's because nothing is wrong, and they are only envious!! This is a splendid interpretation indeed!
In 1707, while being organist at Arnstadt, Bach went to visit Buxtehude and most likely composed the Passacaglia and Fuge in C-minor after returning from his study visit to Buxtehude. So yeah, it does sound like Buxtehude (one might wonder why).
The themes are very short & similar. Good Ole johnny Brook most likelly composed it when he visited Diderik/Dietrich(?) Buxtehude, like Mr. Teso mentioned in 1707. Since the Passacaglia, including the fugal theme is "21" variations, I suspect being the cheeky bugger that Bach was, that he composed it on his 21st B-Day(that an aldo because the 14th variation-which adds his name: B=2, A=1, C=3, H=8, all add up to 14) is the most interesting one! The number 14th always held a very "mystical" place for Bach!
Good performance of an awesome piece. Buxtehude is still underrated although his day might be coming thanks to the likes of Ton Koopman. I just wish someone had thought of adding some reverb to this recording... The acoustic is as bone dry as if this were recorded on a cabinet organ in someone's cozy living room.
Maybe, but reverb is easy to add while impossible to remove. IMHO this way one can hear every pitch really clearly which is fun. I'm for placing microphones in physical locations for accustic effects, electrical reverb is usually annoying because it's not at a natural/logical level...
@@Microsoft-Windows True, natural reverb would be vastly preferable. I'm surprised there does seem to be one in this recording. However the reverb choices offered by audio programs are impressive and sound real good. I"ve always used "Light Concert Hall" for my piano recordings and "Large Hall, Occupied" for my organ recordings. Indeed if you overdo it you may lose some of the clarity and transparency. Yet, arguably, the overall picture is more important than all the little details.
Chris Breemer True, it's a compromise. I myself like details so I prefer light reverb. I agree with you, perhaps a slight more reverb would be better, but I prefer less reverb than too much of it :)
The soft voicing of the pipework has apparently been designed for dry acoustics. Churches with dry acoustics were (and still are) frequently encountered by the North Sea - stone was rare and churches generally had flat, wood-paneled roofs. To me, this consistent whole (acoustics, organ, piece, playing) leaves nothing to be desired. Of course there are other, equally valid, interpretations. See Michel Chapuis, Harald Vogel, Jean-Charles Ablitzer and quite a few others.
Conosco i 4 libri di Buxtehude; quando ascolto musica metto un video di musica di Mozart oppure un video con una selezione musiche organistiche di Buxtehude eseguite da un solo organista. Perché? È meglio ascoltare composizioni suonate bene su un organo adatto piuttosto che una selezione di autori con musiche con differenti improprieta' esecutive. BRAVA da organista anche compositore.
N'apprend-on plus aux jeunes organistes à jouer de mémoire? Si Marcel Dupré exigeait cela de ses élèves, c'était avant tout pour que l'exécutant, libéré de la lecture, surpassant les éventuelles difficultés techniques, re-crée l'oeuvre. Sans ce processus d'apprentissage, le musicien rencontre très vite une frontière, celle qui sépare l'artisan (même excellent) de l'artiste.
@@durupi Thank you. I'll check into your recommendation. I remember when I learned this piece in undergraduate school, and I guess I prefer my version. But she played very well, I think.
@@degautaborg Thanks for your reply. When composers leave us no, or very ambiguous, interpretive "directions" (as many early composers did), it's simply a matter of the performer's personal taste. It's all anyone's educated guess. 😃
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Merci Loriane ,Pour cette belle interprétation !! je regrette le temps où🤣 vous étiez en résidence au CMBV ! et vos très bonnes interprétations ! Comme Lucille Dollat ! une jeune et prometteuse génération !
Very nice rendition of a beautiful piece of music.
Listening Buxtehude takes me away on a journey more than any other organ composer
Bravo bravo bravo fantastic grandiose genial music super
OMG I urge people to listen to this piece all the way through... The blood, anguish and sorrow wrought large through gritted teeth of Buxtehude's brutal and sparse times... rendered with humility and grace. Fantastic arse-kicking yet sensitive performance / execution. Like juggling a bowling ball, a chainsaw and an egg … AND not breaking the egg ;-)
Beautifull music beautifull lorraine
Great job! Those cowards who dislike this video, as usual, haven't the nerve to say what's wrong... That's because nothing is wrong, and they are only envious!! This is a splendid interpretation indeed!
Very talented young lady, here assisted by Louis Jullien. Both are part of the team which organises the concerts in St. Sulpice , Paris.
I was lucky to hear her play at st Sulpice on a visit in 2017 I was blown away.
Bravo quel bonheur c'est sublime
Très jolie touché et phrasé Loriane. Bravo.
Merci pour cette si belle interprétation !
Perfect played!
Clean, clearly thought out and well executed! Bravo.
Bravissima organista.
Восхитительно
MAGNIFIQUE !
the firsts notes remind me the bach Passacaglia so much !
very nice however
In 1707, while being organist at Arnstadt, Bach went to visit Buxtehude and most likely composed the Passacaglia and Fuge in C-minor after returning from his study visit to Buxtehude. So yeah, it does sound like Buxtehude (one might wonder why).
The themes are very short & similar. Good Ole johnny Brook most likelly composed it when he visited Diderik/Dietrich(?) Buxtehude, like Mr. Teso mentioned in 1707. Since the Passacaglia, including the fugal theme is "21" variations, I suspect being the cheeky bugger that Bach was, that he composed it on his 21st B-Day(that an aldo because the 14th variation-which adds his name: B=2, A=1, C=3, H=8, all add up to 14) is the most interesting one! The number 14th always held a very "mystical" place for Bach!
Muy guayyyyyy 🤗🤗🤗. Hermosa música.
It sounds so awesome. I was really curious about this piece after watching one of BTS's music video
Different. Well played.
Good performance of an awesome piece. Buxtehude is still underrated although his day might be coming thanks to the likes of Ton Koopman. I just wish someone had thought of adding some reverb to this recording... The acoustic is as bone dry as if this were recorded on a cabinet organ in someone's cozy living room.
Maybe, but reverb is easy to add while impossible to remove. IMHO this way one can hear every pitch really clearly which is fun. I'm for placing microphones in physical locations for accustic effects, electrical reverb is usually annoying because it's not at a natural/logical level...
@@Microsoft-Windows True, natural reverb would be vastly preferable. I'm surprised there does seem to be one in this recording. However the reverb choices offered by audio programs are impressive and sound real good. I"ve always used "Light Concert Hall" for my piano recordings and "Large Hall, Occupied"
for my organ recordings. Indeed if you overdo it you may lose some of the clarity and transparency. Yet, arguably, the overall picture is more important than all the little details.
Chris Breemer True, it's a compromise. I myself like details so I prefer light reverb. I agree with you, perhaps a slight more reverb would be better, but I prefer less reverb than too much of it :)
@@Microsoft-Windows Yes. Easy does it :)
The soft voicing of the pipework has apparently been designed for dry acoustics. Churches with dry acoustics were (and still are) frequently encountered by the North Sea - stone was rare and churches generally had flat, wood-paneled roofs. To me, this consistent whole (acoustics, organ, piece, playing) leaves nothing to be desired. Of course there are other, equally valid, interpretations. See Michel Chapuis, Harald Vogel, Jean-Charles Ablitzer and quite a few others.
Mine Would Be Mine Own Version Of Passagalica, Toccata And Fugue Dietrich Buxtehude And Bach
Conosco i 4 libri di Buxtehude; quando ascolto musica metto un video di musica di Mozart oppure un video con una selezione musiche organistiche di Buxtehude eseguite da un solo organista. Perché? È meglio ascoltare composizioni suonate bene su un organo adatto piuttosto che una selezione di autori con musiche con differenti improprieta' esecutive.
BRAVA da organista anche compositore.
N'apprend-on plus aux jeunes organistes à jouer de mémoire? Si Marcel Dupré exigeait cela de ses élèves, c'était avant tout pour que l'exécutant, libéré de la lecture, surpassant les éventuelles difficultés techniques, re-crée l'oeuvre. Sans ce processus d'apprentissage, le musicien rencontre très vite une frontière, celle qui sépare l'artisan (même excellent) de l'artiste.
Que rica se te ve apretando los pedales en taquito alto mi amor.
Nice the Principal 8' and after with Ottava 4'.
Nice but somewhat lukewarm.
I prefer a gradual building of stops, with a "big" ending on this piece. Anticlimactic.... 🤔
If you can, find a recording of Alf Linder playing this work. Very effective.
@@durupi Thank you. I'll check into your recommendation.
I remember when I learned this piece in undergraduate school, and I guess I prefer my version. But she played very well, I think.
Unfortunately, the organ and the room are not large enough to carry and give body to her interpretation.
That sounds more romantic, like Reger. i think Buxtehodes vision was more modest.
@@degautaborg Thanks for your reply.
When composers leave us no, or very ambiguous, interpretive "directions" (as many early composers did), it's simply a matter of the performer's personal taste. It's all anyone's educated guess. 😃
sad music - no joy.. puh...
Göran your commentary is sad !
No, not sad. I would say solemn, which could be happy or sad.
It´s a dirge, no doubt, but the best.
No! Music in a minor key is not always sad.
But since we have you to bring us joy .....