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From: a55b47
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  • I heard this same exact piece at the end of the service I attended at St Paul's Cathedral In London.

  • qqqçññññlñhhsa

  • Dieu parmi nou

    

  • If you haven't heard the organ at St. John the Divine since the cathedral reopened in 2008, you haven't heard anything. For sheer effect it's the equal of anything in Europe. Maybe not pure Cavaille-Coll or Willis, but oh-my-God amazing anyway.

  • This movement of Messiaen's "Nativity Suite" is Christmas for me. "Outburst of Joy". For me this is God breaking into our word -- I'm not a "Silent Night" fan. I just don't think it was silent.

  • this isnt the as you say nativity suite it is the ascension of christ... after Easter...

  • I like you.

  • I wish I was European so I could maybe have the chance to play in some of these wonderful spaces. In America, all we have are what my organ teacher calls "padded candy boxes."

  • There's Saint John the Divine, Washington National Cathedral, Saint Mary the Virgin, National Shrine of the Immaculate Inception, Saint Patrick's Cathedral... tons of spaces with great acoustics, not quite like in Europe, but they exist here in the states.

  • @choirisgay - oh, I dunno, I'd have said the US has some big acoustics. Various of the major cathedrals... St Ignatius Loyola (Jesuit RC) NYC... the Catholic basilica in DC has a HUGE acoustic.

  • Transports de Joie or as Frederick Geoghegan loosely translated "Happy Trucks". It sounds very good on this instrument btw. Thanks for posting

  • Bravo, Christopher. This is simply splendid, joyous, exact, respectueux des intentions et dans l'esprit de Messiaen. L'acoustique est parfaite.

  • I was fortunate enough to play this instrument during normal tourist hours whilst I was working on the organ during my work experience. I can say that if had to make any improvents at all, it would be to add a 4 foot flute in the swell and that is about it. Other than that, this organ can play just about anything you want it to. I was privaleged enough to play the brand new Mander console for the first time and I played the Vaughn Williams Rhosymedre prelude and the Dubois Toccata. Any questions

  • In the 1972-77 rebuild they were torn between 1) leaving the Swell exactly as Father Willis left it in 1872 2) adding the 4' flute you mention - being under expression it would be perfect for accompanymental purposes, and 3) add a Vox Humana specifically for the French repertoire. As there was only space for one more stop (it's packed as hell in there) they went for the VH. Totally agree with you though: I would ditch the VH and add the flute! Never mind, it is the finest Organ in England!

  • I'm afraid i'd have to disagree with you there. The fnest organ in England is Westminster Cathedral by a clear mile. I've not played it yet (one day!) but i have heard it many times and it is just, in my opinion, the perfect organ. Nothing can match its tonal quality, its subtley, its presence in the building i.e. how it fills the space and feels part of the building and its vast but beautiful range of colors for you to mix and mesh together to make one glorious sound!

  • That's interesting. I have heard this view before. I would certainly agree Westminster Cathedral has a very fine Organ. There is no doubting its sonic presence in the building. Putting aside the fact that it is hidden away behind a screen without a proper case (irrelevant I know), I still maintain St Paul's has the edge. The diversity and power of the St Paul's instrument is overwhelming. I don't suppose your view is possibly coloured by the difference between the two venues in faith?

  • Yes - this organ and acoustic is brilliant for this - but to be honest, not for everything. Much of the organ sound emerges from what sounds like a long tunnel in which ranks at the back can paint a wonderful canvas of colour but in which all detail disappears.

    For this reason my favourite organ is St George's Windsor, especially brilliant at the console with the organ cases on each side and the building reverb in the background.

  • Something's bugging me about Herrick's playing of French pieces. Don't get me wrong, I LOVE English music, but French music shouldn't be played in an English (not that the St. Pauls organ isn't perfectly suited to play it though).

  • The organ is the completely wrong style for messiaen. You need a rumbling Contra-Bombarde 32' to make it sound interesting.

  • what do you mean>

  • Actually, the registrational instructions on the score of this piece doesn't indicate 32' reed at all. I think that's because there's no such stop at Sainte-Trinité at all. Personally, I think 32' Bombarde really gives a wonderful effect to this music.

  • Brilliant! Better than drugs! (whatever they are like!)

  • This is quite a lot faster than the version with which I am most familiar (Latry at Notre Dame), but who is to say which organist is the greater authority on which composer. I had the privilege of getting into st. paul's organ loft last year - it's as spectacular as it ever was.

  • ??? Latry plays this piece much faster than it is played on this video.???

  • Are you reffering to Latry's performance at Royal Albert Hall? Of course, accoustics are more dense there. In St. Paul's there's so much reverberation, playing this must be suited to the room, otherwise it would be blurred. Also, many people don't know Messiaen doesn't place exact time measures.

  • @Sesquiltera I have heard that the reverb has been timed at 12 seconds, thanks to that huge dome (second only to St. Peter's, Rome). How long the reverb time must be there!

  • excellent images. i think you'll enjoy my posting of "eyes in the wheels" of Messiaen. i made a slide show of images that go along with the music. check it out...

  • As for Messaien himself, I always think playing his music is like having a direct connection to a God. It is a uniquely sublime experience, particularly his slower things ("Le priére du Christ", for example) where it's almost as if he's challenging you to hold the chords as long as you dare, in particular that glorious final D7

  • I have been looking for a recording of "les corps glorieux," has anyone been able to find this piece online or does anyone have this piece to post on youtube?

  • I don't think it's too fast at all. I mean, it's called transports of delight, yes? Unless Messaien meant his feet, then surely it should be quite fast. And Herrick managed to keep the tempo consistent throughout, which is a good thing.

  • transports de Joie is a VERY hard movement to attempt. I play the other three. I agree it maybe a few bpm too fast but who am I to comment, I can't play it myself! Wonderful harmonies and rich textures. I bet its a nightmare playing with all that delay in St Pauls - I think you have done a great job at maintaining your tempo. Thanks for the great video.

  • Incredible speed, played too fast by Herrick in my opinion, but very impressive. Listening Messiaen is a religious experience.

  • French style of music and particularly Messiaen is all about controlling the piece, no matter how dischordant, its not about the dischords, its about the feeling for the player and the audience, and the final resolve.

  • If you are going to post an incredibly narrow, pretentious comment like that, I suggest you at least learn to use proper english!

  • The EU wanted it taking down because of their regulatory directive on the amount of lead in musical instruments. Not sure if it's related to that?

  • Wow, what a sound! Sounded beautiful before it's rebuild. Why did they mess with it at all? If it ain't broke, don't fix it. lol

  • The organ still sounds fantastic today. They didn't mess it up.

  • Wow, cool vintage stuff from Christopher Herrick!  Thanks for posting this.

  • Great Piece, bad work of the player; I think it`s played too fast. But your videos are fantastic, keep on posting :-)

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