Dawerd
New member
Hello everybody,
just curious of your opinion on this performance...
http://pl.youtube.com/watch?v=y-IEfkidz6k
just curious of your opinion on this performance...
http://pl.youtube.com/watch?v=y-IEfkidz6k
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What do you think about this?
- Thread starter Dawerd
- Start date
methodistgirl
New member
This is the first time that I saw two page turners with an organ player.
I don't see other organist do that they turn pages themselves or have
the sheet music spread out so that there wouldn't be any page turning.
judy tooley
I don't see other organist do that they turn pages themselves or have
the sheet music spread out so that there wouldn't be any page turning.
judy tooley
Judy,
When performing a concert, I always have a page turner - kinda hard to spread out the 13 pages of Mendelssohn's Sonata I across the music desk
. The prelude I'm doing this Sunday, BWV 561, (Bach) , has 7 pages - again, a page turner is required as there isn't enough room on the music desk for that many pages.
My page turner also helps to add/remove stops since I also have but 4 pistons for the entire organ ... a serious handicap for the organist, but it's the way it is (and no money to change it) and so I deal with it.
Argoth
New member
One of my favourite pieces for the organ, and the first video I've been able to find of this particular movement on youtube..(glad to see there are a few more up now since I last looked, including one by Daniel Roth) Been looking for it since I first heard it at a recital in school last year. I don't know too much about organ performance, and youtube sound quality leaves something to be desired, but I think it was great
Dawerd
New member
Nice video
I suppose I woudn't have managed at all, or I would have to use the cressendo which is rather 'brutal' in that parcicular organ
That would spoil a whole lot of the performance. I think that in some cases it's just impossible for a proper concert whithout good registrators. So it's a good thing that helpers are 'allowed' in organ perfomances. Though on the other hand it's one of the worst things when your helper 'gets lost' and just spoils everything. I guess it's important to manage by yourself with as much as possible and if use somebody's help - you must fully trust him.
Anyways everybody, I'm glad you liked the video
and if you have any closer remarks please post them.
I think it's always valuable to listen to others opinion
[Czyżby kolega też z tegoż pięknego miasta pochodził?
]Grand Orgue
Banned
Church of the Holy Cross - Ostrow Tumski, nearby the cathedral of Wroclaw, Poland. IMO the most beautiful gothic church in our city and it has a marvellous acoustics
Dawerd, what firm built this organ? It seems it has French romantic sound, although such "specialist"
as me may mistake.
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Dawerd
New member
The organ was originaly built by a German firm Sauer from Frakfurt in 1982 as Opus 2134. It was biult in a music school wich unfourtunatly was flooded in 1997. After the flood Sauer built a new instrument in this school (Opus 2270) using some of the parts from the previous instrument.
The rest of the 'old' Sauer organ was mooved to the church of the Holy Cross by a Polish firm "Cynar" from Wroclaw. It was then very much rebiult and extended. It is actually a totaly new instrument now, thogh the most beautilfully sounding voices are those built originaly by Sauer.
In my opinion the organ now is a big mish-mash. Cynar is a firm with no traditions wich came into excistance when Poland was a communist country. His instruments are very rough sounding and biult very carelessly. Unfourtunatly after World War II this firm had a 'monopol' for building organs in Wroclaw as it was the only firm a those times (of course any contact with west Europe countries was strictly forbiden). Many churches where and organs destroyed during the war and Cynar was the one to built new instruments in them.
Sauer on the ather hand is a great German organbuilding firm whith long romantic traditions. They build many instruments in Wroclaw before the war (including one of the worlds biggest organ in the Centennial Hall mooved after war to the Wroclaw Cathedral). Personly I especially like the sound of romatic stops in Sauer's instruments and perfect intonation.
That's why the instrument in the church of the Holy Cross sounds that good even thoug there is more Cynar than Sauer in it right now.
The other thing is the magnificent acoustics of the church - something incredeble.
Here are som links if you're more interested thou some are in polish, but the dispositions are rather clear
The Cynar-Sauer in the church of the Holy Cross (playd in the movie)
The present Sauer tracker organ in the music school
Wroclaw Centennial Hall
The Sauer organ from the Centennial Hall mooved to the Cathedral (one photo is done before war in the hall)
One of the more interesting fact is that for the inauguration of the organ in the Centeniall Hall, Max Reger specially wrote his Inroduction, Passacaglia & Fuge in e-minor op. 127. :grin:
The rest of the 'old' Sauer organ was mooved to the church of the Holy Cross by a Polish firm "Cynar" from Wroclaw. It was then very much rebiult and extended. It is actually a totaly new instrument now, thogh the most beautilfully sounding voices are those built originaly by Sauer.
In my opinion the organ now is a big mish-mash. Cynar is a firm with no traditions wich came into excistance when Poland was a communist country. His instruments are very rough sounding and biult very carelessly. Unfourtunatly after World War II this firm had a 'monopol' for building organs in Wroclaw as it was the only firm a those times (of course any contact with west Europe countries was strictly forbiden). Many churches where and organs destroyed during the war and Cynar was the one to built new instruments in them.
Sauer on the ather hand is a great German organbuilding firm whith long romantic traditions. They build many instruments in Wroclaw before the war (including one of the worlds biggest organ in the Centennial Hall mooved after war to the Wroclaw Cathedral). Personly I especially like the sound of romatic stops in Sauer's instruments and perfect intonation.
That's why the instrument in the church of the Holy Cross sounds that good even thoug there is more Cynar than Sauer in it right now.
The other thing is the magnificent acoustics of the church - something incredeble.
Here are som links if you're more interested thou some are in polish, but the dispositions are rather clear
The Cynar-Sauer in the church of the Holy Cross (playd in the movie)
The present Sauer tracker organ in the music school
Wroclaw Centennial Hall
The Sauer organ from the Centennial Hall mooved to the Cathedral (one photo is done before war in the hall)
One of the more interesting fact is that for the inauguration of the organ in the Centeniall Hall, Max Reger specially wrote his Inroduction, Passacaglia & Fuge in e-minor op. 127. :grin:
methodistgirl
New member
I'm in awe of those pictures. How I would love to try out the biggest
one. It's beautiful.
judy tooley
one. It's beautiful.
judy tooley
dll927
New member
I watched about the first minute and a half. As long as that broad is going to stand right smack in the way, no thanks.
Someone mentioned the tempo and the acoustics. I sometimes wonder if organists put those two together well. Playing too fast in a church with a long reverberation time is going to produce a mish-mash of noise which, in louder sections or with a lot of contrapuntal voices, is just noise. I do not agree with the idea that ambulance-chasing tempi necessarily mean talent.
Someone mentioned the tempo and the acoustics. I sometimes wonder if organists put those two together well. Playing too fast in a church with a long reverberation time is going to produce a mish-mash of noise which, in louder sections or with a lot of contrapuntal voices, is just noise. I do not agree with the idea that ambulance-chasing tempi necessarily mean talent.
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Dawerd
New member
rovikered said:
I'm very glad you liked it.
You're rigth - good registransts a very important and they give very much reassurance, especialy when they are your best friends from the same organ class
dll927 said:
Dear dll927,
please pause the video and wait till it buffers completely, than fast forward to 8min 19 sec and play.
You shall then have a nice view on the performer
(although I don't understand why do you need to see my hands to judge the performance
Music is for listening. In most cases on organ concerts you don't have the possibility to see the musician.)If it comes to the tempo, are you saying this apropos this video or in general?
Because in general I agree that too fast tempo in organ playing usually makes nothing but noise. And of course - fastness has nothing to do with musicality. But you must be technically talented to play like Cameron Carpenter.
But assuming that your saying this regarding this video (as you posted your opinion in this thred)
1)this piece isn't a tipical contrapuntal one. It's not a fuge and in most times the texture a piono-like, chord one.
2)The reverb of the church isn't very long and if you know the piece you can hear every contrapuntual line in the pedal or lowe vice etc. (although I admit that on this video it might not be so clear as youtube always compresses everything).
3)The tempo is notated by the composer as Allegro, and it is a part of the whole symphony so you allways have tu ajust the tempo not only to the acouctics but also having in mind the slower and faster parts of the whole piece.
Concluding: please tell me why shoud it be slower?
Best regards :tiphat:
rovikered
New member
apropos adverse comments on the speed of this piece, I agree with you, Dawerd. The movement is an Allegro. It is also a virtuoso piece requiring a virtuoso player who is also a MUSICIAN. In my opinion the video demonstrates that the performer is both. I have several recordings of this piece played by internationally renowned organists, all of whom adopt the same tempo.
Finally, I agree with your comment re music is for listening. I often make a similar comment. If we are perceptive listeners our ears tell us all we need to know about the music and its performance, and we can aurally recognise the musicianship and the virtuosity.
Best wishes.
rk
Finally, I agree with your comment re music is for listening. I often make a similar comment. If we are perceptive listeners our ears tell us all we need to know about the music and its performance, and we can aurally recognise the musicianship and the virtuosity.
Best wishes.
rk