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The Centennial of Jehan Alain
- Thread starter Mark D
- Start date
JHC
Chief assistant to the assistant chief
This does happen when you get old :grin::grin::grin:Boy oh boy
Jan 30 - Filmed Litanies, no time for Variations
Feb 6 - Got to church late, no time for Variations
Feb 13 - Filmed Variations satisfactorily, but accidentally had the camera turned off during the last page.
Maybe this wasn't meant to be...
Mark D
New member
White Knight
Spectral Warrior con passion
Ouch! :bawl:
JHC
Chief assistant to the assistant chief
Early dementia????? :grin:And I'm not even 20 yet!!
Soubasse
New member
Don't you just hate that? It used to be that there was no mistaking when a camera or recording device was on. Now you have to look at a (usually small display) several times to check.
It'll happen, don't worry.
I was thinking of putting some pictures to my own recording of the Jannequin Variations, but there is a bit of audience noise, and I'm not sure if it's the best performance. Might have to give another listen.
Soubasse
New member
Okay, having done my bit in Romainmotier, I'm now doing a not-quite-repeat performance back here. This Wednesday I'll be performing the lunchtime organ recital in our town hall on our magnificent JW Walker & Sons instrument. And I'm giving it a personal touch by introducing JA to the audience the same way I was, which means the perhaps slightly unusual means to begin with Litanies. I'm also borrowing two of the students from our recent Europe tour to perform the Vocalise Dorienne (sop and organ) and the Andante from the Trois Mouvements (flute and organ) which I hope will introduce even some of the more informed members of the audience to something a little different.
Programme:
- Litanies
- Petite Piece
- Deux Danses a Agni Yavishta
- Scherzo (from Suite pour orgue)
- Vocalise Dorienne
- Andante from Trois Mouvements
- "... un peu de bonne autour de moi?" (my own work for the centennial)
- Aria (JA)
Programme:
- Litanies
- Petite Piece
- Deux Danses a Agni Yavishta
- Scherzo (from Suite pour orgue)
- Vocalise Dorienne
- Andante from Trois Mouvements
- "... un peu de bonne autour de moi?" (my own work for the centennial)
- Aria (JA)
Mark D
New member
Nice! Wish I could be there.
Soubasse
New member
I'm beginning to wish I wasn't. Afraid I'm not very happy with my performance, it should have been one of my best and it just wasn't.
I was far too distracted thinking about the funeral I was attending the moment I finished. A close friend of ours died late last week, very sudden and it was a hell of a shock. I did manage to dedicate the recital to her, so I hope the audience were a little sympathetic. Ironically, it was in the same spirit of Alain's fate that that I was able to do so - a creative soul and a full life suddenly and tragically cut short.
I might be able to throw together a compilation vid for my YouTube channel, will just have to edit the audio to find the bits that are listenable!
Contratrombone64
Admiral of Fugues
Hey my dear friend. Sorry to hear of that tragic event. They are always just so shocking. Hope you're ok? David
Mark D
New member
Sorry to hear that, man. I'm sure they understood.
On a different note (no pun intended), I am really excited for this recording:
http://www.jbrobin.com/en/disco.html
Robin is currently my favorite concert organist, and in my opinion the master of interpretation of French works. Did not know until recently he was going to be doing a complete Alain works CD.
I'm sure they understood.On a different note (no pun intended), I am really excited for this recording:
http://www.jbrobin.com/en/disco.html
Robin is currently my favorite concert organist, and in my opinion the master of interpretation of French works. Did not know until recently he was going to be doing a complete Alain works CD.
Soubasse
New member
That could prove to be interesting.
I know there are some in this world who believe that if you can't do a certain thing, you don't have the right to be critical of those who can, but personally, I think there is a fine line there.
Sorry if I'm potentially going to cause trouble here Mark as I'm aware from other posts that you're a fan of J-BR, but I'm afraid that I currently have difficulty listening to his Alain performances, and I have listened to quite a few already in order to give the benefit of doubt, and not make any ill-informed judgements.
There is no way that I'm going to be critical of his technique at as it's plain to anyone with ears and eyes that his technique is as faultless as it is enviable. But it's his interpretation with which I disagree. Furthermore, I find it hard to reconcile that someone who studied with Marie-Claire Alain can interpret her brother's works the way he does. I feel that I may make this statement with a reasonable amount of hindsight having spoken personally and privately with Madame Alain some years ago on the very matter of JA's works. Also, at the subsequent workshops directed by M-CA on the interpretation of her brother's music, Robin's current interpretations are quite at odds with what I and the other performers experienced that week.
I'm all for something new and fresh, and indeed, Robin's interpretations of many works to date (not just Alain) are certainly new and in the case of some pieces (again, not just Alain), quite fresh. However, if in some instances it flies too far from tried, tested and accepted interpretations, then sometimes, one is left wanting. One of the last performances of J-B R's that I heard was of Alain's Trois Danses. I have had a strong emotional attachment to these works for a long time (once again, due to my meeting with M-CA and the following workshops). The J-BR performance that I've heard I actually found disappointing and annoying. It sounded as though he had a bus to catch. Many notes and phrases were rushed to the point of almost ignoring them completely - it was simply FAR TOO fast, and the strong emotional impact and intent of both the sombre theme of Deuils, and the brutal barrage of chords concluding Luttes were all but lost.
No, I'll never be professionally in the same league as J-BR, but I don't make these sorts of statements without some sort of knowledge and expertise. I'm not the sort of internet pillock who flies in all guns blazing, slating something just because I don't like the sound of it. I prefer making informed opinions so I can look at least mildly intelligent :grin:
Perhaps it's because I have placed something of a personal and emotional investment in these works, that I will tend to ... oh I don't know, feel as though I'm defending them ?? That probably sounds a bit pompous, but I don't mean it to be.
If in the end it's all just a matter of interpretation, then it's all just a matter of interpretation and as always, artists will agree to disagree.
I will also await with interest - but perhaps also with a little trepidation, Jean-Baptiste Robin's new recording. However, I fully intend to listen with an open mind, and I hope to hear "what he means" if that makes sense.
With every good wish, and no disrespect toward your tastes intended.
Matt
I know there are some in this world who believe that if you can't do a certain thing, you don't have the right to be critical of those who can, but personally, I think there is a fine line there.
Sorry if I'm potentially going to cause trouble here Mark as I'm aware from other posts that you're a fan of J-BR, but I'm afraid that I currently have difficulty listening to his Alain performances, and I have listened to quite a few already in order to give the benefit of doubt, and not make any ill-informed judgements.
There is no way that I'm going to be critical of his technique at as it's plain to anyone with ears and eyes that his technique is as faultless as it is enviable. But it's his interpretation with which I disagree. Furthermore, I find it hard to reconcile that someone who studied with Marie-Claire Alain can interpret her brother's works the way he does. I feel that I may make this statement with a reasonable amount of hindsight having spoken personally and privately with Madame Alain some years ago on the very matter of JA's works. Also, at the subsequent workshops directed by M-CA on the interpretation of her brother's music, Robin's current interpretations are quite at odds with what I and the other performers experienced that week.
I'm all for something new and fresh, and indeed, Robin's interpretations of many works to date (not just Alain) are certainly new and in the case of some pieces (again, not just Alain), quite fresh. However, if in some instances it flies too far from tried, tested and accepted interpretations, then sometimes, one is left wanting. One of the last performances of J-B R's that I heard was of Alain's Trois Danses. I have had a strong emotional attachment to these works for a long time (once again, due to my meeting with M-CA and the following workshops). The J-BR performance that I've heard I actually found disappointing and annoying. It sounded as though he had a bus to catch. Many notes and phrases were rushed to the point of almost ignoring them completely - it was simply FAR TOO fast, and the strong emotional impact and intent of both the sombre theme of Deuils, and the brutal barrage of chords concluding Luttes were all but lost.
No, I'll never be professionally in the same league as J-BR, but I don't make these sorts of statements without some sort of knowledge and expertise. I'm not the sort of internet pillock who flies in all guns blazing, slating something just because I don't like the sound of it. I prefer making informed opinions so I can look at least mildly intelligent :grin:
Perhaps it's because I have placed something of a personal and emotional investment in these works, that I will tend to ... oh I don't know, feel as though I'm defending them ?? That probably sounds a bit pompous, but I don't mean it to be.
If in the end it's all just a matter of interpretation, then it's all just a matter of interpretation and as always, artists will agree to disagree.
I will also await with interest - but perhaps also with a little trepidation, Jean-Baptiste Robin's new recording. However, I fully intend to listen with an open mind, and I hope to hear "what he means" if that makes sense.
With every good wish, and no disrespect toward your tastes intended.
Matt
GoneBaroque
New member
Rreminds me of the story (probably apocryphal) of the discussion between Pablo Casals and Wanda Landowska on how to play the music of J. S. Bach when Wanda replied "Pablo you may play Bach in your way and I will play him in his".
Mark D
New member
Trust me Matt, if I expected everyone to agree with me I wouldn't be wasting my time on forums. I'm not going to say Robin's style for anything is as the composer intended, it's probably not. But I do find it more engaging. One of my favorite things about music is the ability to tweak and make it your own. I've never been left wanting for anything when listening to him. I never really cared for the Victimae Paschali improvisation until I heard his performance of it at Saint Eustache, which inspired me to learn it from memory. I've heard it criticized for being to breathless and clipping the rhythm, but it was those things precisely that made it sound almost magical to me.
But seriously, I've heard just as many interpretations of various things that made me gag, in the case of Litanies probably the worst being Virgil Fox of all people. Once you find someone who comes up with innovative interpretations in a tasteful way, life is great. And I for one will probably be one of the biggest fans of this new recording. I can't really speak for the Danses as I've never played any of that work.
You certainly seem to be quite the expert on the topic, it's really fascinating to hear about your experiences in France. I guess I should add, if this makes any difference, I know Jean-Baptiste personally as well. I was a fan even before I met him, though.
But seriously, I've heard just as many interpretations of various things that made me gag, in the case of Litanies probably the worst being Virgil Fox of all people. Once you find someone who comes up with innovative interpretations in a tasteful way, life is great. And I for one will probably be one of the biggest fans of this new recording. I can't really speak for the Danses as I've never played any of that work.
You certainly seem to be quite the expert on the topic, it's really fascinating to hear about your experiences in France. I guess I should add, if this makes any difference, I know Jean-Baptiste personally as well. I was a fan even before I met him, though.
Soubasse
New member
Certainly agree with you there. In fact, I found it ironic when someone posted on my YouTube channel that they thought I played Litanies like Virgil Fox. I was polite in my response but I was quite indignantly thinking "No I DON'T!!" I think I've heard two versions of him doing Litanies, neither of which I liked at all.I wouldn't say I'm an expert by any stretch of the imagination, but I do like finding out anything I can, after which I try to retain it. I think it's great for you having someone of J-B Robin's calibre not only to know personally, but also to be influenced by. Will check out his Victimae Paschali that you've mentioned.
Mark D
New member
I know, I was thinking "The audacity of that person!!" I'm sure they just associated it with really fast notes and weren't focused on the piece's style itself.
Here are the two videos you must see before you form a complete opinion on JB:
http://www.youtube.com/watch?v=yXrgKzkD-mg&feature=channel_video_title
http://www.dailymotion.com/video/x523pw_prelude-et-fugue-sur-le-nom-d-alain_music
Soubasse
New member
Now, I enjoyed those vids! I had seen the Durufle one before (and it's not just JBR, too many organists are guilty of speeding up during the last few bars like a man being chased by a lion, but I've never liked that ... just a bit of reserve please gentlemen!!)
The Tournemire I enjoyed. Was interesting reading the comments - I personally feel that of all pieces in which it's far more permissable to take rhythmic liberties, surely that would be in a transcribed improvisation since it was improvised to start with!!
Followed some links to some of JBR's compositions and I enjoyed those a lot too, they're quite distinctive. I'd be interested to hear him improvising - I have a feeling that could potentially be quite breathtaking.
The Tournemire I enjoyed. Was interesting reading the comments - I personally feel that of all pieces in which it's far more permissable to take rhythmic liberties, surely that would be in a transcribed improvisation since it was improvised to start with!!
Followed some links to some of JBR's compositions and I enjoyed those a lot too, they're quite distinctive. I'd be interested to hear him improvising - I have a feeling that could potentially be quite breathtaking.