Louis Vierne - Final from 6th Symphony

Emotion can be about many things other than just crying or chuckling. Since you mention rhythm, I'll say that in Tharp's performance, I don't perceive his rhythm as "precise/exact/scientific/metr onomical/whatever", but rather as powerful and relentless, in a gripping way. In other words: rock solid — particularly suitable for "Tu es petra", I would say.

"money, money, money, isn't funny..." ;-)

1922 was also a period in which Vierne had to re-establish his career after he returned from Swiss. All I read is that he was very sad about this betrayal.

I like the Tu Es Petra more dramatic, and imho you can only add drama by not playing the music exactly as its written. Music is not science, it's an emotion. That's what many people forget. I have never cried or chuckled to an exact quantized beat, have you? =P

Thanks for the clarification.

I'm afraid I'll have to disagree with you: I find Stephen Tharp's playing superb, *especially* from a musical point of view.

Uhm. My first reply did not get posted for some mysterious reason.

I was saying that "too flawless playing" actually exists. It seems that organists with a lot of skill have a hard time putting some emotion in their performance for it may look like a technical flaw. Look for example at Stephen Tharp playing "Tu Es Petra" by Mulet. It's 'too clean'... hope you can catch my drift ;)

@lorbo77: It seems that in the end, Vierne himself did not make too much of a fuss about it, since he even accepted to *inaugurate* one of Mutin's biggest organs (Douai) in 1922.

@GJmusique: I'm afraid I don't understand your point: what exactly do you mean by "I meant Stephen Tharp", and in what respect is it a reply to my comment?

I meant Stephen Tharp.

Agreed. Well said.

very true.

Add to that, I think its played way too fast... 2*