Pipe Organ Paris Notre Dame Cathedral Cochereau Plays Messiaen

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Uploaded by on Mar 4, 2008

Le Banquet Celeste. This is the third version I've uploaded: performances by Alec Wyton & Marcel Dupré preceded it. Cochereau takes a more leisurely pace than the other two.

The organ is a V/110/153, originally built by Thierry in 1733 & rebuilt by Cliquot in 1788 -- just in time for it to be "de-commissioned" by the French revolution. Cavaillé-Coll did a major renovation in 1876, & that's primarily the instrument we hear today, although Vierne & Cochereau were constantly tinkering with it.

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  • Thank you for all of your postings. An invaluable selection of historical performances.

  • i played this on my daughters baptism

    in an old little gothic chappel in the most beautiful countryside...

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All Comments (10)

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  • i know this is french for the heavenly banquet, but when hear this it makes me think of the love God meant for man and woman as Adam and Eve are kissing in an innocent, incorrupt love.

  • Perhaps someone here has access to and can post the very sensuous version recorded by Maurice Duruflé. I believe, originally recorded for the Aeolian-Skinner "The Art of the Organ" LP series - a "recital" of works by both Duruflé's.

  • Wonderful and perhaps closer to the Messiaen aesthetic. OM did revise the work in 1960, doubling all note values by rescoring it in 3/2 to visually communicate it's "slowness". Savvy Messiaen interpreters have pointed out that OM's registration for the opening, Gambe & Voix Celeste (on many French instruments), affords one enough shimmer and activity in the color to perform the work at the properly and deliciously sloooow tempo - without it ever becoming static and dull.

  • Music seems like a pure form of spirituality...without religion.

  • I love this piece, allthough I usually don't like modern organ music. But sometimes Cochereau plays it too fast.

  • Wonderful video - thanks for positing.

  • Wonderful! Cavaille-coll largely built the organ anew in 1868 though (although he did of course retain a lot of the good stuff by Thierry and Clicquot.)

  • This performance takes the piece at the appropriate time. The others by Dupre and Wyton do not.

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