Anyone who criticizes this does so because (a). he/she does not play as well as this, or (b). he/she does not look as good as this, or both!! As for the pedal glissando, it's something called "artistic license." In other words, when you're this good, you can get away with it. So, get over it.
Perhaps if the tempo were relaxed just a tad one could retain the excitement and drive while striking all the notes and not giving the impression of frantic mania?
Lawerence...I understand you used to Play at Trinity Cathedral Sacramento, which I get to once in a while, maybe I have heard you play. Do you have any youtubes of you playing?
well done! Just a suggestion to you and to anyone learning this piece that the fingering difficulty that arises in the right hand arpeggios in beat 2 at measure 149 and 150 can be avoided by taking the B# with the left thumb. In fact commencing at measure 136 "2:16" the beat 2 A# can be done the same way avoiding a 2 over 1 crossover.
Love it! Great job. I've tried this piece, and was just not able to make it work the way I wanted. Your interpretation is wonderful, and very well played.
J'ai reçu votre commentaire. Vous avez raison..Comme artiste, (comme le disait si bien Widor), tous ont droit à l'impro sinon vaut mieux prendre une bouteille de boisson en forêt.. Je vous la faite mieux que moi quand même..Bravo !
Umm...there are things about your playing I liked, but some things I would do differently if it were me. First of all, keep a steady tempo. It feels like you're going slower in the first modulation. I want more spark in your opening. And perhaps take up the entire piece's tempo by a notch. That might give it that extra kick.
Excellent young lady. BRAVO! One small thing I beg of you - of ALL musicians - don't become a slave to the notes leaning on the music rack. Read them - yes. Play the written notes a few times - yes. Then put them away and throw your own talent and interpretation into those fingers. Again; BRAVO!
glissandos only work if you've got a lot of reverb and a very gnarly bass. go and listen to cochereau's performance and match it. flutes at the start, baroque in the middle, added trumpets and bombardes towards the end, chamade at the end.
There seems to be a debate growing around the use of the pedal glissando in this performance. It is widely known that Virgil Fox added this glissando to the piece and it was he who inspired Marija to add it to her performance. This is a fun piece and why is it so inappropriate to add a little more "fun"?
The pedal glissando killed a GREAT performance...that just totally killed it for me. Sorry, but that just doesn't fit at all. The rest was played very well though.
Quite a good playing, but still I think that the pedal glissando at the end of this piece is inappropriate.The organ sounds amazing.Best regards from friends in Croatia!
Well done and I hope the eventual audience was appreciative. Not sure what carol9821means about the shoes...you're wearing exactly what you should. Keep up the good work!
Great stuff ! What a talent. I enjoyed this ! Thanks.
jimpollinger 2 weeks ago
Hmmmm great piece very well played and what can I say? She certainly adds Va Va Voom to the performance in more ways than one!
MrBoneFixer 3 months ago
Very talented!! and also very pretty! any recitals in Belgium scheduled?
robminnaert 8 months ago
brava..e pure bella ...
maxmaggi68 1 year ago
I've always thought the piece needed a little something more at the end, and other great organists have added this.
eameece 1 year ago
Anyone who criticizes this does so because (a). he/she does not play as well as this, or (b). he/she does not look as good as this, or both!! As for the pedal glissando, it's something called "artistic license." In other words, when you're this good, you can get away with it. So, get over it.
jazzkeyboardman 1 year ago 4
great, you guys should also listen to Marc Schaap version. just tipe gigout toccata Marc Schaap and you will find it. but good job!!!
adrianfernandes 1 year ago
I really liked your performance; most play this piece at a too slow tempo and it loses it's fire.
1pianodude50 1 year ago
So big.....
altosaxkohank 1 year ago
Why the gliss in the pedals at the end??
Haatoudit 1 year ago
what about playing barefoot?
TURBOKNIGHTRIDER 2 years ago
YOu should've probably stayed of the reeds and 16's on the great during the beginning...
choirboy526 2 years ago
Perhaps if the tempo were relaxed just a tad one could retain the excitement and drive while striking all the notes and not giving the impression of frantic mania?
Faster is not always better.
StarTrekLivz 2 years ago
good and......sexy !!!
jice0610 2 years ago
some slips here and there but on the whole very good... you look very tight... try to relax!
HHDougyT 2 years ago
Vedere una donna suonare uno strumento ed un pezzo così grandioso è molto erotico!
Its so sexy listen and see a beautiful woman playing a masterpiece on a great organ!
Marcologo71 2 years ago
awsome!!!
organistboy 2 years ago
Comment removed
califdad4 2 years ago
Lawerence...I understand you used to Play at Trinity Cathedral Sacramento, which I get to once in a while, maybe I have heard you play. Do you have any youtubes of you playing?
califdad4 2 years ago
Comment removed
buzzbaybear 2 years ago
well done! Just a suggestion to you and to anyone learning this piece that the fingering difficulty that arises in the right hand arpeggios in beat 2 at measure 149 and 150 can be avoided by taking the B# with the left thumb. In fact commencing at measure 136 "2:16" the beat 2 A# can be done the same way avoiding a 2 over 1 crossover.
buzzbaybear 2 years ago
Fantastic job! Love the pedal glissando at the end!
Well done!
JurglyWurgly 2 years ago
Perfect !
emotiiii 2 years ago
she never asked what you would do different Lady.
framer4157 2 years ago
Love it! Great job. I've tried this piece, and was just not able to make it work the way I wanted. Your interpretation is wonderful, and very well played.
unkoine 2 years ago
what kind of organ is this?
riverscuomo06 3 years ago
The organ is a 1926 W. W. Kimball which, judging by the sound, has been considerably revised.
buzzbaybear 2 years ago
this is soooo sexy. seriously.
riverscuomo06 3 years ago 5
Comment removed
johannuscro 3 years ago
Personally I play it a bit faster and I like it that way... :) It just falls apart like this...
GJmusique 3 years ago
fantastic. Very impressive plpaying.
tubamaxima 3 years ago
J'ai reçu votre commentaire. Vous avez raison..Comme artiste, (comme le disait si bien Widor), tous ont droit à l'impro sinon vaut mieux prendre une bouteille de boisson en forêt.. Je vous la faite mieux que moi quand même..Bravo !
klodg 3 years ago
it is a great performance and this glissando doesn´t change this impression. It is only a gag. Why not?
I want to hear more of this young lady.
Brava!
schneckenturm 3 years ago
Umm...there are things about your playing I liked, but some things I would do differently if it were me. First of all, keep a steady tempo. It feels like you're going slower in the first modulation. I want more spark in your opening. And perhaps take up the entire piece's tempo by a notch. That might give it that extra kick.
LadyofMetal16 3 years ago
fantastic!
joeyboi87 3 years ago
Great video from Italy
kenobi95 3 years ago
Très bonne version de la toccata de Gigout.
Cependant je suis pas certain que le célèbre compositeur aurait aimé voir cette glissade au pédalier avant les derniers accords..
klodg 3 years ago
Moi je pense que si. Les oeuvres sont faites pour interprêtées, ré-interprêtées.
Un artiste digne de ce nom doit s'approprier une oeuvre.
Il n'y a qu'à écouter certaines versions du génie des génies, j'ai nommé Pierre Cocherrau, pour s'en rendre compte... !
Qui n'ose pas en Art ne peut se prétendre artiste.
laclef2007 3 years ago
Excellent young lady. BRAVO! One small thing I beg of you - of ALL musicians - don't become a slave to the notes leaning on the music rack. Read them - yes. Play the written notes a few times - yes. Then put them away and throw your own talent and interpretation into those fingers. Again; BRAVO!
ahmelmahe 3 years ago
Comment removed
oakberry61woohalol 3 years ago
glissandos only work if you've got a lot of reverb and a very gnarly bass. go and listen to cochereau's performance and match it. flutes at the start, baroque in the middle, added trumpets and bombardes towards the end, chamade at the end.
matmilne 3 years ago
There seems to be a debate growing around the use of the pedal glissando in this performance. It is widely known that Virgil Fox added this glissando to the piece and it was he who inspired Marija to add it to her performance. This is a fun piece and why is it so inappropriate to add a little more "fun"?
lawrencestrohm 3 years ago 5
Well, there have been some better musicians in the history than mr fox...
How did he come up with the idéa to make a glissando in H- minor without black keys?
How did you think? :P
Your performance is still great! Keep up the good work!
tjugofyra 3 years ago
i don't think fox did that. what he did was when the pattern in the pedals was repeating, he'd play it once at the right octave, then down an octave.
riverscuomo06 2 years ago
The pedal glissando killed a GREAT performance...that just totally killed it for me. Sorry, but that just doesn't fit at all. The rest was played very well though.
edolch 3 years ago
Quite a good playing, but still I think that the pedal glissando at the end of this piece is inappropriate.The organ sounds amazing.Best regards from friends in Croatia!
croorg575 3 years ago
Well done and I hope the eventual audience was appreciative. Not sure what carol9821means about the shoes...you're wearing exactly what you should. Keep up the good work!
BoilerMan75 3 years ago
What a fantastically rich swell division and perfect pacing.
Well done. Even the pedal gliss works!
ihadaralf 3 years ago
Very nicely played!
... but no, the pedal glissando at the end doesn't "work" for me ...
md95065 3 years ago
This comment has received too many negative votes show
Shoes on pedals= 1 Star (you know the rules)
carol9821 3 years ago