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Joannes Couchet
Приєднався 18 гру 2016
Kris Verhelst plays 17th century Flemish music at the 1644 Ancion organ at Sint-Truiden
Peter Philips
0:00 Fece da voi [P. Philips]
3:30 Margott laborez [O. Lassus]
John Bull
5:50 In nomine [MB VII]
9:56 In Nomine [MB IV]
Peeter Cornet
14:33 Courante (ante 1624) [CEKM 10]
20:18 Fantasia del 8. Tono [ante 1625]
The organ used for this recording is preserved in the Beguinage Church of Sint- Truiden. This organ, one of the oldest Flemish organs that have been preserved in their original state, is attributed to Christian Ancion (†1622) from Hoei and was probably built between 1644 and 1646. The instrument was restored by Pierre Decourcelle in 1996 by order of the Provincial Government of Limburg.
Christian Ancion can be counted among the representatives of the Liege early baroque school of organ builders, a trend-setting school in the history of organ building. One of the most conspicuous characteristics of this school is the stylistic amalgamation of German, Brabant and Flemish elements in one organic unity.
Kris Verhelst obtained the Laureate Degree of Organist at the Lemmensinstituut of Leuven in 1988 as a student of Chris Dubois. In 1995 she obtained the Higher Diploma of Harpsichord at the Royal Flemish Academy of Music of Antwerp under Jos van Immerseel. She also attended several master classes, workshops and lectures by harpsichordists of international renown such as Colin Tilney, Robert Kohnen and Liuwe Tamminga. In 1983 she was the first laureate of the Music Competition for the Youth (Pro Civitate) for organ and in 1994 she was laureate of the Belgian Stichting Roeping as harpsichordist. Kris Verhelst is a popular soloist at home and abroad. She is a member of the orchestra Anima Eterna and the Chamber Music Ensembles More Maiorum and Fontainebleau. She also works with prominent ensembles such as the Collegium Vocale and Ricercar. Kris Verhelst teaches at the Lemmensinstituut of Leuven and she frequently gives masterclasses and workshops. She also lends her assistance to the well-known annual international keyboard course of the Ruckers Society of Antwerp.
0:00 Fece da voi [P. Philips]
3:30 Margott laborez [O. Lassus]
John Bull
5:50 In nomine [MB VII]
9:56 In Nomine [MB IV]
Peeter Cornet
14:33 Courante (ante 1624) [CEKM 10]
20:18 Fantasia del 8. Tono [ante 1625]
The organ used for this recording is preserved in the Beguinage Church of Sint- Truiden. This organ, one of the oldest Flemish organs that have been preserved in their original state, is attributed to Christian Ancion (†1622) from Hoei and was probably built between 1644 and 1646. The instrument was restored by Pierre Decourcelle in 1996 by order of the Provincial Government of Limburg.
Christian Ancion can be counted among the representatives of the Liege early baroque school of organ builders, a trend-setting school in the history of organ building. One of the most conspicuous characteristics of this school is the stylistic amalgamation of German, Brabant and Flemish elements in one organic unity.
Kris Verhelst obtained the Laureate Degree of Organist at the Lemmensinstituut of Leuven in 1988 as a student of Chris Dubois. In 1995 she obtained the Higher Diploma of Harpsichord at the Royal Flemish Academy of Music of Antwerp under Jos van Immerseel. She also attended several master classes, workshops and lectures by harpsichordists of international renown such as Colin Tilney, Robert Kohnen and Liuwe Tamminga. In 1983 she was the first laureate of the Music Competition for the Youth (Pro Civitate) for organ and in 1994 she was laureate of the Belgian Stichting Roeping as harpsichordist. Kris Verhelst is a popular soloist at home and abroad. She is a member of the orchestra Anima Eterna and the Chamber Music Ensembles More Maiorum and Fontainebleau. She also works with prominent ensembles such as the Collegium Vocale and Ricercar. Kris Verhelst teaches at the Lemmensinstituut of Leuven and she frequently gives masterclasses and workshops. She also lends her assistance to the well-known annual international keyboard course of the Ruckers Society of Antwerp.
Переглядів: 330
Відео
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Переглядів 17 тис.День тому
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Переглядів 2,4 тис.5 місяців тому
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3:30 & 14:33 The best. 3:30 "Margo worked in the wineyard.", the famous Canadian chanson.
Thank you so much!! It helped me to prepare my sermon as a bishop.
Beautiful rendition, excellent recording, and what an amazing instrument! Dank u wel!
One of my teachers and a true artist!
Gracias por mantener el vídeo... El sonido que escuchó el propio Buxtehude y Bach, los imagino llenos de emoción por el sonido y la fortaleza del órgano. El sentimiento de pena al ver la destrucción de la ciudad y la muerte de tantas personas. A pesar de todo conservamos las obras y podemos recrearlas. Un saludo cordial y esperanzado por el futuro de la humanidad.
The audio quality of this is fantastic. When was it recorded? Also his playing and choice of registrations are beyond perfect.
Yes Jesus
❤❤❤
Un'ora di vera felicità. Grazie.
Zeer mooie uitvoering, welk een prachtig orgel ...
Thank you for this lovely recital! And for giving all the registrations - now I can play this at home (ha, ha). Yes, the Green Giant is an amazing organ, and Wim van Beek a superlative organist! Best wishes for 2025!
This remains the best performance I have yet heard of the Daquin Noels, although there have been a number of others which come in as close seconds, especially that of Pierre Bardon on the organ of St. Maximin in Provence, the construction of Jean-Esprit Isnard.
How Perfectly Lovely to hear a delightful looking wise gentleman playing Beloved JSB with thought, emotion ,registrative tone and slow enunciation of sonorous splendour…THANK YOU WISE MAN ….so many rush these pieces to give the impression of a train timetable to achieve.
Hadden we nodig
Jawohl: hatten wir nötig! I say this maybe especially as an American. We have a 10-yr segment of players who were taught, first, "ancient fingering" where you pretty much amputated the thumbs. The use of any heel in the pedal deserved an electroshock or something. Ditto for a finger substitution. And the turning under of the thumb at fingers 3 then 4 to play a scale hadn't been invented yet. If you were lucky the teacher allowed the very late Bach this high privilge. Then, the idea was to teach purely late-Bach fingering and toe-heel pedalling beginning with Mendelssohn right thru to late Dupré (The sight of the Dupré edition earned you a book burning and felony police record.) America: "everybody wants to rule the world," right? Problem was: even with Mendelssohn, the unnatural introduction of the thumb and heel was disastrous. This against-nature dichotomy tended to just lay aside French music from Franck onwards bc the student didn't have the legato technique for it. Music scholarship finally got past the adolescent stage and now in 2025 we organists are all on the same page. Musicologists publish articles and no longer much teach organ performance. You Europeans and especially the Dutch do not fall for fads quite so easily. And so. We have here playing that has evolved and adapted itself organically. Yes, there is some account taken of the more important trends in Musicology. But no radical change from 3D back to 2D. Wim LIVES this, in addition to just enough "personal signature." He is in unbroken touch with tempi...die einfach sitzen. No drag. But also no loss of clarity for each individual voice. Add to that what I call the Dutch brand of "Fire" (not Latin or Prussian or Austrio-Hungarian. Hmm...maybe a little Hansa? IDK. In all: a revelation!❤ ...some observations from the Transatlantic Other, that confirm and expand upon your more "quick&dirty" Hatten wir nötig! (?) All best, our friends! It ain't gonna be easy next little while. Let no one drive us apart. We've all been thru way too much together for that result. Luv ya'all. Ohren steif !!
Beautiful playing. Perfect tempos on the Chorales.
Astonishing. This should catch like wildfire. Life changeing playing.
Veel organisten kunnen de verleiding van alle 'knopjes' niet weerstaan wat vaak leidt tot vreemde escapades. Maar Wim blijft trouw aan de muziek van Bach en het instrument. Hulde. Sorry Wim, maar ik heb er nog eens goed over nagedacht en het veelvuldig gebruik van tremulant doet afbreuk aan Bach. Ook voor jou geldt dus het begin van mijn betoog.
Veelvuldig? Hij gebruikt hem 3 keer.... Overigens is de beste man ook al weer jaren overleden.
@henkjansen9847 Drie maal is scheepsrecht en onder organisten is het gebruik van tremulant omstreden. Dat Wim niet meer onder ons is wist ik niet. De tijd gaat snel. Ik ontdekte dat hij veel te horen is op de cd-boxen uit mijn collectie van BC (het orgel in Groningen).
@@presidentstaatshoofd473 Weinig deden hem dit na en hij heeft heel wat fantstische organisten opgeleid. informeer uzelf voor u uw pen laat 'schieten.' nl.wikipedia.org/wiki/Wim_van_Beek
Diverse orgelkoralen in een meesterlijk uitvoering
Meraviglioso momento musicale! bravissimo!
heel erg bedankt, dit is een sprookje
Een organist pur sang!!❤
Чудесно! 😇 Спасибо! 🙏
Wat een rust en kwaliteit in spel en instrument, dank voor het delen
🎉Heel toevallig vind ik deze opname en denk aan zo’n 60 jaar geleden toen Wim de sleutels van de Petruskerk in Woerden kwam halen bij de fam. ten Hoeve om te studeren op het orgel. Wat een prachtige uitvoering is dit.
Bravo
Обожаю этого органиста! Мне удалось быть на одном из его концертов в Alkmaar. Потрясающий органист и представитель старой голландской органной школы! Благодарю вас!❤❤❤
Mooie registraties en fijn gespeeld!!
Bedankt voor het plaatsen. Wat een schitterend instrument toch en wat een afgewogen spel van Wim van Beek.
Bellísimo y maravillosa registracion. Saludos desde Chile 🇨🇱
yo did Jake Holmes write this too?
Wonderful, thank you
Zeer fraai!
Amo esta obra! Y más interpretada por mi profe Kurosaki❤️
Excellent!
where was this recorded (what organ ?)
by ear I it might be Rodez
@gambe96 Bolbec!
@@joannescouchet7038 wow ! I did not recognise it... I did think about it, with the robert Bates recording of Titelouze and all, but did not recognise its sound. Guess I've not heard from that incredible instrument yet ! I also heard a good album of Steigleder vater unser there.
Hello. Can anyone tell me if this was recorded on a fortepiano? I'm guessing that it is, given the history of Demus's career.
Oh -- that's what they're supposed to sound like! Thanks for sharing this.
Yes when you use it with a tremulant, which temporarily disturbs and shakes the wind to add the wobble to the sound.
The encore is the Chaconne Fmajor Nr. 75 in the Heugel edition of Louis Couperin by Alan Curtis. Its authorship is marked as unclear (Chambonnières? Louis Couperin?) - the Bauyn MS attributes it to Chambonnières, but it appears in none of his printed work. Curtis assumes Louis Couperin for stylistic reasons. Rondeau omits the last 2 (inferior) couplets that are not found in the Bauyn MS. The other Fmaj Chaconne that he played in the concert is Nr. 81.
Who cares?
@@JanWeinhold001 There are UA-cam viewers who would like to play the encore, and for that you have to 1) know what and by whom it is, and 2) know where to locate it. This particular case is difficult because of the authorship question, therefore I offered one modern print that saves the piece from obscurity. Michael
One of Scheidt's most captivating works. It has a very cryptic vibe I can't describe.
The human upheaval and the cultural mutilation of warfare, brought about by the few greedy megalomaniacs and warlords of all sides. The average citizen, until inflamed by propaganda, wants no part of war, just to be left to get on with their lives. I too have a recording of Walter Kraft playing Buxtehude, bought ca 1972, without realising its significance.
De meester aan een lekker brutaal orgel.
Wonderful interpretation, extraordinary tuning and sound, great recording. Thank you for sharing.
This is one of those hidden gems on UA-cam. Greatly appreciated.
Thanks Biggs had a big tecnique and feeling. The organ of the Joannis kirche of Luneburg is a wonderful mechanical organ built in 1550 in the Netherlands, with a Posaune 32' stop at the pedal.The best Buxtehude player I've ever listened
❤
Thank you very much! Beautiful
Genial ...
This is a grandeur that I cannot imagine myself.
Très belle sonorité de cet orgue aux potentialités immenses. Merci de cette mise en ligne!
WHAT is the rush? It is just too fast, and the ornaments completely lose any meaning.