Excellent post, thank you. People have ignorantly complained about the verset's organ improvisations, each of which is limited by the format of the mass to only about 60 or so seconds in length. The verset organ improvisations are part of the liturgy; each is the organist's improvised interpretation of the textual response to the preceding verse recited by the priest (the Archbishop, in this case). Organ literature, including by famous French organ composers (even Messiaen, whose organ works are all religious), would be entirely out of place in a mass---a mass is not a concert. Some people said "why didn't they play music by Bach?" Bach was a German Protestant. This was a mass in a French Catholic cathedral. Do not expect to hear Bach's music in a French Catholic mass, and especially not in Notre Dame de Paris where innovative organ improvisation is fundamental. You can hear Bach's and other organ composers' works in many concerts previously held in Notre Dame de Paris, and in the many concerts there to come. The organist also improvises the entre' (prelude), interludes, etc. and the sorti (postlude). The musical style of these improvisations is a historical tradition at Notre Dame de Paris (at least), especially from when Pierre Cochereau was the titulaire organist. It is not to everyone's taste (I love it), but nothing is.
Your comments indicate that you 'got' the reopening liturgy exactly, in the context of the ND musical and specifically liturgical tradition, of which most of the keyboard critics were unaware or ignored. Well said, fully agree! I wonder how long it is before these 8 versets are transcribed and published? They can then take their place in the library of historic French organ literature, the "transcribed improvisation" being a section in its own right.
Marcus, you make a good case and add some education to the organ playing at Notre Dame. BUT . . BUT . . BUT . . when the intellect or talent of the music falls upon the ear in a way that isn't equivalent to the event, I can't find the selections defensible. It was a glorious, grand, celebratory occasion for the re-opening of the Cathedral and the music put me in the space of the fire raging and never being extinguished, never rising from the ashes. That's how it sounded to me. The "glory" was missing for me. I'm certain French improvisation could have managed something glorious and triumphant.
Notre Dame has been the temple of improvisation since Balbastre caused traffic jams in the streets of Paris at Christmas close to 250 years ago playing and shredding French Christmas carols. The 4 were magnificent, no notes -- another fanboy
Very thoughtful commentary, Marcus - thank you!
there are a few more, but thanks for a fresh view on what happened! So many didn't understand and just bombed it with bad critics.
Thank you, Marcus. Excellent!
Excellent post, thank you. People have ignorantly complained about the verset's organ improvisations, each of which is limited by the format of the mass to only about 60 or so seconds in length. The verset organ improvisations are part of the liturgy; each is the organist's improvised interpretation of the textual response to the preceding verse recited by the priest (the Archbishop, in this case). Organ literature, including by famous French organ composers (even Messiaen, whose organ works are all religious), would be entirely out of place in a mass---a mass is not a concert. Some people said "why didn't they play music by Bach?" Bach was a German Protestant. This was a mass in a French Catholic cathedral. Do not expect to hear Bach's music in a French Catholic mass, and especially not in Notre Dame de Paris where innovative organ improvisation is fundamental. You can hear Bach's and other organ composers' works in many concerts previously held in Notre Dame de Paris, and in the many concerts there to come. The organist also improvises the entre' (prelude), interludes, etc. and the sorti (postlude). The musical style of these improvisations is a historical tradition at Notre Dame de Paris (at least), especially from when Pierre Cochereau was the titulaire organist. It is not to everyone's taste (I love it), but nothing is.
Your comments indicate that you 'got' the reopening liturgy exactly, in the context of the ND musical and specifically liturgical tradition, of which most of the keyboard critics were unaware or ignored. Well said, fully agree! I wonder how long it is before these 8 versets are transcribed and published? They can then take their place in the library of historic French organ literature, the "transcribed improvisation" being a section in its own right.
The texts on which they were based on are included in the comments of Vincent Hildebrandt's video on the Notre Dame reopening.
Marcus, you make a good case and add some education to the organ playing at Notre Dame. BUT . . BUT . . BUT . . when the intellect or talent of the music falls upon the ear in a way that isn't equivalent to the event, I can't find the selections defensible. It was a glorious, grand, celebratory occasion for the re-opening of the Cathedral and the music put me in the space of the fire raging and never being extinguished, never rising from the ashes. That's how it sounded to me. The "glory" was missing for me. I'm certain French improvisation could have managed something glorious and triumphant.
@@joanneaurica3189 and I can understand why many folks feel that way. Valid points
Notre Dame has been the temple of improvisation since Balbastre caused traffic jams in the streets of Paris at Christmas close to 250 years ago playing and shredding French Christmas carols. The 4 were magnificent, no notes -- another fanboy