Added: 4 years ago
From: dianebishjom
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  • This is a good number for Ipod users. Many restaruants who play that rock crap ought to replace it with something like this.

  • does anyone else find the graphic of the "M" in "The Joy of MUSIC"..to be a bit naughty?!!....and actually A LOT NAUGHTY!!

  • Wonderful as always!!! Love it.

  • Very light and transparent organ and play

    thanks for posting

  • Previous in response to Scott1916 a.k.a. Mr. Know-It-All.

  • I think Diane Bish is one of the very best. The magnificence of this work by Liszt is not necessarily best heard on some huge overblown organ. For another exemplary performance of the entire composition see Sebastian Kuchler-Blessing's four videos on YouTube. His instrument is a mere thirty-five stops yet every nuance of maestro Liszt's genius is displayed with competent skill at managing the organ registration. I find Miss Bish's performance equally enjoyable.

  • From 4:40 on, I recocnized this piece from the Atlantic City Midmer-Losh organ website. It sounds like it was intended to be played on a huge organ.

  • yep, she did a pretty good job on the coda. Very accented. I like the midmer losh version. Definately watch sebastian's version. Even better.

  • @BayAreaBiker2001 I have that CD! It's a great piece to showcase the power of the Midmer-Losh! On the very last chord, he uses the powerful Grand Ophicleide! It's played by Stephen D. Smith.

  • "Organo Pleno" for Bach has a specific meaning and gives us an instruction as to what sort of sound we should search for.

    "Plein Jeux" for a French piece does not demande the same combination .

    "full swell" can be obtained by diapasons 8 & 4, mixture and three reeds 16 8 4.

    adding other stops will only demand more wind and muddy the texture.

    A weak 8' diapason has always needed the addition of a stopped diapason, but to add a cloying Hohlflute or Harmonic flute only thickens the chorus.

  • The final orchestral chord of Wagner's "Tristan und Isolde" is pianissimo with a swell (cresc. dim.)

    It is played by almost all the instruments of the orchestra, though one would hardly be aware of it. Nor is one aware of the sonority of the only instrument which is missing! (Cor Anglais).

    But research tells us why: the Cor Anglais is the instrument that has been associated with betrayal and deluded hope in the opera. In spite of the death of the hero and heroine, love is not lost .

  • Does one really need to pull out ALL those stops to have the same intensity of sound?

    Adding the gedachts of two manuals will only increase the intensity by 1db, and at the end, the reservoirs are struggling to give enough wind!!

  • I personally believe full Organ is absolutly every stop pulled except for the possible exception of undulating stops, although it does stil add to the sound, because if you don't, its not really "full" Organ is it. If you have a tutti in an Orchestra, you would still have the flutes playing, you may not be able to hear them, but it still adds to the sound. If the resevoirs and blowers can't supply the wind to full Organ for 1 minute to a 14 note chord, you need something larger.

  • Beliefs are believableif they rest on solid research and arguments!

    "The Organ" by Prof WL Sumner is a very good buy for your library.

    In "the Study and Use of the organ" he says what goes behind the ART of registration.

    - fixed rules of the 16-17th centuries

    -"much organ playing is far too loud"

    - "in much present-day organ playing, far too many 8' stops are used simultaneously (then follows a detailed explanation)

    -Good diapasons... are usually spoilt by the addition other unison stops

  • This is a practice tempo--the entire piece would take 40 minutes at this pace--sorry Diane--more practice, less hairspray.

  • Tempo is always at the artist's discretion after taking into consideration the instrument, the action, the possible registrations and most of all the reverberation time of the space where the instrument is located. In essence, tempos are arbitrary and are always negotiable between the composer's intent and the artist's reality.

  • Diane Bish is an awesome organist, great performer. Total respect to you! I imagine it's quite a feat to play such a piece on this organ.

  • The Liszt Prelude and Fugue on BACH was written for the dedication of this instrument, but due to the late completion of the piece, the performer didn't have time to learn it and instead substituted the "Ad Nos."

    Wonderful instrument, piece, and performance!

  • Great sound, great performance. Especially nice was the tempo and dynamics. I've heard this piece taken at such a fast pace that the result is nothing more than a mishmash of slurred notes interrupted by an occasional pedal.

    Bish is that rarity - a serious, professional organist who actively performs and teaches. She is also a very nice and gracious woman. bravo and thanks for posting some of your performances on Youtube.

  • It's correct title would be "Fantasy and Fugue on "Ad nos, ad salutarem undam" (Theme of an choral by Meyerbeer)", but ok...

    I think that it is played a little too slow and expressive - think that Alexander Winterberger (performed it in 1852 in Weimar and then 1855 in Merseburg) was a young, dynamic player who surely played not such objective - this music is like a vulcan; always moving, always roaring, always firing; it's not written in a cold move - so why is it played this like?

  • One of the most brilliant and stunning performances of this work I have ever heard! The organ and performer are at the right place at the right time. BRAVO!!!!!

    Love you Diane!

  • Diane - If you get a chance to read this I am so glad you have joined youtube and are posting clips of the show. This reminds me that I need to Tivo the broadcast so I don't miss anything!

  • Anyone got the sheet music for this?

  • I have. :)

  • Yep!

    I bought the Peters Edition of Liszt's works years ago.

    Constituting one's pesonal library is a lifetime investment.

  • Never heard it played this slow. Hmm.

  • well, the touch of Ladegast-organ is enormously heavy,, and under the acoustical conditions of such a grand cathedral, playing fast in question is extremely difficult, and the Lisztian brilliance would collapse....

  • Agreed. With all the organs she's played on, you'd think there would be a better one suited to this piece.

  • Actually, this is the organ Liszt composed the piece for.

  • Indeed, he composed this for the inauguration of this Organ.

  • No, he composed the Fantasia and Fugue on BACH for this organ. But the piece wasn't finished at the time of the actual inauguration so one of Liszt's pupils, Gottschalk I believe, played the Ad Nos.

  • ahh, I see, thank you. I researched it and found that you were correct, thanks.

  • In my research I haven't found anything that says he wrote this piece for any specific organ--perhaps this is the organ where it was first played by his student, I don't recall. I do remember that one of the few registration suggestions he makes is for the "tromba" to be used on the last page for the fanfare. Either Ms. Bish didn't use it, or this organ doesn't have one. If it is the latter, I would certainly question his writing the piece for this organ in particular.

  • está muito bem como está. óptimo.

  • que?

  • A piece that is very sweeping and dramatic....and exhibits much power..located in a wonderful cathedral setting....an excellent demonstration of the musical sensitivity of Diane when she is seated at the king of instruments.

  • Her costumes are made her for and usually to her designs.

  • ha yea i assumed they were specially made. u dont walk through wal mart and find clothes like that. the flashy clothes are a bish trademark like them gold shoes.

  • Wonderful! this music is amazing! please post more! :D

  • impressive playing. or at least from what i could see without having been blinded by her shirt hah anyone else ever wonder where she gets all them fancy flashy clothes from

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