Could use yet more colour, with more of a sweeping dynamic range (which would entail more piston-changes and swell-boxing); also, I'd use - if available! - a Bourdon 16' in the Swell much more - to me, this piece requires that kind of gravity (though no slower!!). Otherwise not bad at all!!
This plus the recording on the pre-1990 Notre-Dame de Paris beat the neo-Baroque-style recordings from Germany, Austria and the Netherlands also available here BY FAR!!!
Hi! Oh dear - it's such a pity not to have just a bit more atmospherics from a bit of building reverberation - technically nice but I can't find the atmosphere. You might find the upload of Hugh Potton playing this of interest.
Otherwise, just try to focus on the registrations and the actual interpretation. If it's really good, you'll find yourself soon sucked into the piece...
Also, it's easy at the keyboard to forget that this is really an orchestral work. How would we conduct it? Or better yet, how would Birgit Nilsson interpret this?
Hi: Yes, I know it's an organ work. What I really mean to say is that it's a tone poem. That's what I meant by "orchestral". Does that clear up your confusion?
Hi all: Yes, I agree counterpoint. It's always much to easy to start that subject too quickly, and by the time the pedal enters, you're saying to yourself, "Oh shit." I've found when playing the fugue, that I just look at the second hand on my watch, and use 60 as the tempo. It's easy to forget as well, that once you know it backwards and forwards, and everything is in the motor memory, that it has to be played at a tempo where the average Joe can hear the harmonic changes.
I have played this piece as well. I must agree that I didn't too much like the interpretation of this piece. Especially because this church isn't a live room and when you play a pipe organ with dry acoustics u have to force alot of legato to get an effect. I also agree about the balance between what the hands and feet were doing. Obviously you like big pedal reeds. Which unfortunately overpower the busy manual work by the hands. But yes, a difficult piece of music to play. Good job.
You are inspiring to me as an organist!!!
britandveg 1 year ago
Could use yet more colour, with more of a sweeping dynamic range (which would entail more piston-changes and swell-boxing); also, I'd use - if available! - a Bourdon 16' in the Swell much more - to me, this piece requires that kind of gravity (though no slower!!). Otherwise not bad at all!!
This plus the recording on the pre-1990 Notre-Dame de Paris beat the neo-Baroque-style recordings from Germany, Austria and the Netherlands also available here BY FAR!!!
4/5, maybe 4½/5...
LJBSasha 2 years ago
Hi! Oh dear - it's such a pity not to have just a bit more atmospherics from a bit of building reverberation - technically nice but I can't find the atmosphere. You might find the upload of Hugh Potton playing this of interest.
latribe 2 years ago
Thanks for your recommendation.
Otherwise, just try to focus on the registrations and the actual interpretation. If it's really good, you'll find yourself soon sucked into the piece...
LJBSasha 2 years ago
Also, it's easy at the keyboard to forget that this is really an orchestral work. How would we conduct it? Or better yet, how would Birgit Nilsson interpret this?
TrackerAction 3 years ago 6
Sorry, this is an ORGAN work, composed for, and initially performed by Reubke on the organ when his health was already starting to fail.
koly7 2 years ago
Hi: Yes, I know it's an organ work. What I really mean to say is that it's a tone poem. That's what I meant by "orchestral". Does that clear up your confusion?
TrackerAction 2 years ago
Hi all: Yes, I agree counterpoint. It's always much to easy to start that subject too quickly, and by the time the pedal enters, you're saying to yourself, "Oh shit." I've found when playing the fugue, that I just look at the second hand on my watch, and use 60 as the tempo. It's easy to forget as well, that once you know it backwards and forwards, and everything is in the motor memory, that it has to be played at a tempo where the average Joe can hear the harmonic changes.
TrackerAction 3 years ago
QUITURBITCHIN!
redletterchurch 4 years ago
I have played this piece as well. I must agree that I didn't too much like the interpretation of this piece. Especially because this church isn't a live room and when you play a pipe organ with dry acoustics u have to force alot of legato to get an effect. I also agree about the balance between what the hands and feet were doing. Obviously you like big pedal reeds. Which unfortunately overpower the busy manual work by the hands. But yes, a difficult piece of music to play. Good job.
mjeff321 4 years ago
Comment removed
counterpoint4 4 years ago
Thank you for your honest comment.
kiyow 4 years ago
Kiyow,
steelersfanhawaii 4 years ago
Inerpretation depends on the organist playing
this pice.The registration, well also the
organist disgression, Hear Virgil Fox's interpetation and listen carfully to his registration. These two are very close.
gedeck4foot 3 years ago
I think that the reed digital!
tjugofyra 3 years ago
Genialny utwor.Great Genius REUBKE.Wykonanie bardzo dobre.
anaklage86 4 years ago 4