Max Reger - Introduktion und Passacaglia

Angelo Castaldo plays the Great organ in Rheda-Wiedenbruck (Germany)
Max Reger - Introduktion und Passacaglia

Category:

Music

Tags:

• Reger
• Castaldo
• organ

[robertgift]

Fantastic!

But are the very short notes heard by the audience?

I stay on them slightly longer so that they are perceived.

Otherwise, in all of the magnificent sound, they may be missed.

[lorycast06]

@robertgift

Thanks, dear Robert!

Yes, those notes are very "short" and they are SO MANY! This is the Reger's style. Magnificent and enormous sound, complex counterpoint, fully exploiting the resources of the organ. I think the audience can lose many details, but I'm sure they like anyway.

Ciao!

[robertgift]

@lorycast06 I forgot to thank you, lory, for posting this.

I doubt that Reger wanted the notes played precisely as short as written. So I play them full value or even slightly longer. Years ago I memorized this work and now don't remember what the notes are. I loaned my music to someone and have not seen it since. Now I need it back to play it again because I have forgotten things.

I want to write a fugue on R.E.G.E.R composed in his wonderful, overwhelming style.

[lorycast06]

@robertgift

Dear Robert, I understand what you mean. In the music of Reger there are many passages written in very rapid and brief notes. Clearly many listeners lose the meaning of some passages, but I think that playing slower some passages, however, does not allow the comprehension of great Reger's architecture. Certainly, in recent times there is discussion on the interpretation of the music of Reger and on the execution time, but the demisemiquavers are demisemiquavers!

[lorycast06]

@robertgift

And.... good luck for your fugue on R.E.G.E.R. ! :-)

[lorycast06]

@robertgift

I understand what you mean. But this is not a recording, but a resumption of amateur camera with a normal quality. The sound made​from it is distorted and then, the camera being positioned very close to the pipes, it is clear that the strong sounds completely fill the "audio spectrum" and do not hear the shorter and singles notes. I think the public has heard more clearly alive.

[joernbroeker]

Good interpretation but I don't understand why you get faster towards the end. From 6:40 on I play it molto pesante, because it is very exstatic; but thats just my view.

[robertgift]

@lorycast06 Here I am referring to the beginning where quick SINGLE notes precede the chords changing.

They are too quick, barely audible to me and likely inaudible to the audience. I bring them out a little to make them heard and reveal the drama which they create. I am not referring to the many running-note passages elsewhere.

Why speeding up at 6:40?

I maintain the same tempo.

[robertgift]

@lorycast06 The issue about short notes is that they may not even be heard. Yet they are totally important.

So some notes need to be emphasized just so that they are not missed and their effect lost.

Sometimes even I cannot hear the notes, and I know they are there. So those who don't know the work will never hear them.

When I played this at a large cathedral, people standing around the console said this Maxnificant work sent chills up their spines.

[lorycast06]

@musichiere70

L'organo è quello di St. Klemens. Hai ragione proprio un bello strumento! :D