Holy Moly Heavenly Days Richard, That is an Amazing Organ, with a More Amazing Artist to Perform that Piece! I Applaud that Performance, and It Almost Sounds like I'm In the Abby, but my 100 watt per Channel Amp with JBL Studio Monitors Almost Let Me Have that Live Concert Sound, Thank You Richard for Sharing Your Amazing Talent with Us!
I've listened to countless performances of this wonderful sonata. One of the things I'm struck by, Richard, and it's not unique to this piece, is the clarity of your articulation. I'm struggling to think of an interpretation I've heard that brings out the individual notes more clearly (while not losing the phrasing and overall flow of the piece). Fabulous!
I've wanted to hear you play this for ages but never dared request it as I can see how challenging it is! Congratulations on your mastery of this piece and for the quality of the sound recording.. every note captured with crystal clarity.
As a Belgian I recall this sonata is dedicated to King Leopold II who considered music as unbearable noise, or maybe it was also as a tribute to his master Lemmens. Nice organ, sounds so French, thanks for this discovery and as always you master all styles. Congratulations.
Such a gorgeous instrument! And a wonderful accoustic - thanks Richard for bringing it to worldwide attention - I was so lucky to hear it in person last Christmas!! (Fab playing too :) )
What a bravura performance. The organ sounds wonderfully French and the Sonata works very well on it. Wonderful clarity and articulation. Superb! I would be interested to hear your performance of his 'marche funebre et chant seraphaique.'
Brilliant! It does not matter which genre, Richard, your interpretations are always bench mark quality! Being Dutch I know the limitations regarding only 10 or so programmable stop combinations make it more difficult for the performer to play symphonic music: but you pull it off wonderfully!
Why is it more difficult for a performer to play this with only 10 programmable stop combinations. People have been playing this piece since it was written long before programmable combinations were invented. They didn't have trouble. Have you ever hear of hand registrations. The REALLY GREAT organists of the 1800 and 1900's had no trouble. Why suddenly is this a problem. These gadgets on an organ have become more important than the music. In the present day organ specs do not brag about the stop list, rather how many layers and combinations there unmusical monstrosities have. Tell Fred Swann or E.Power Biggs or Edwin Lamare they lacked in combination setting and they would laugh at you. The majority of organists today are incompetent, they cant memorize their pieces, or are they too lazy, they have to have page turners - all the fad of late, often many of them can't even push the NEXT button. Someone has to reach in, on, around, and under the performer to do it for them. They are key pushers. Schriener, Widor and Bach would laugh at these pansies. Oh, Just a moment - How did Guillmant compose this piece without all those adjustable combination pieces? Please explain who Widow wrote 9 symphonic pieces with only ventils. How about Vierne. I understand why Messian wrote such crap, he was trying to change combination while playing. Fox might have been a show-off but he certainly had no trouble with registration. Neither did Mdm. Alain.
@@organbuilder272 I must say that most french repertoire has been written for a ventilator system, which is relatively good to use. Most dutch organs however have no ventils at all, meaning you need two registrants at all times on a large organ. Then, you as an organist need to train these registrants as well as find them in the first place. And then I am not even starting about the organs with the swell stops behind the organists back!
Good Grief!!! Ventilators What in hell to they have to do with a pipe organ. The Cavialle-Coll organs had VENTILS, a system of pneumatically actuated levers which controlled reeds, mixtures and specific groupings of stops and couplets. They were NOT adjustable from the console. Ventilators, on the other hand are intended to remove, supply or interchance the air in a room, tunnel or sealed chamber, heat or cool an area or building or room. The SWELL STOPS are either on the left or right stop jambs, easily accessible by the organist or registrants. The POSITIV DIVISION, which in many or most large European organs sits behind the organist, usually mounted in some fashion on the balcony rail. By its very location it provided a tonal counterpoint to the main organ located behind a large and impressive case, in front of an usually above the organist, containing the commonly known SWELL, PEDAL and GREAT divisions of the organ@@TimvanElderen SO, Professor, I assume by your comment that the organist of today needs an army of assistants, not always available, who need to be trained to follow written notations as to when to change stops during the performance. SO - Judging by your commentary, the original composers of this music, and those who played it up to "Modern times" did not need, did not have, or did not use these rare and ignorant registrants to assist with the performance. I have seen many organists play on dutch organs and it seems that many of the assistants were young, dexterous and able to take cues from the notations on the sheet music and a nod from the organists head to change stops and couplers. They are usually organists themselves and aware of how and when to change stops because they are familiar with the music. They don't seem to be the untrained, unskilled idiots that you represent. I have not, however, seen it necessary for anyone to manipulate any of the ventilators anywhere in the organ, balcony or the church itself - whether it be France, NL, GB or the USA. Of course, few, if any, of those large, old churches are heated so I assume that ventilators are either not present or not necessary. Ventilators. Are you sane? Ventils to control stops have been used by builders from the early 1800 until around 1880 (Maybe earlier) when Casavant invented the first adjustable combination action. Organists did well with between 4 to 8 pistons per division and 6 to 10 Generals until the 1990 period when the first multi-level electronic controls were developed. You might want to be certain of what you are talking about before you go shooting your mouth off. Don't toss terminology around to try to show that you know what you are doing. Swell Divisions were never behind the organists, They were usually behind the Great in the main case or above the Great and always inside a wood box that had the ability to control the volume of the pipes inside that box or more properly CHAMBER through the use of SWELL SHADES.
@@organbuilder272 what I call swell is a translation from the dutch Rugwerk. Btw not all swell divisions are enclosed (for instance the recit devisions on various 18th century french organs). The stops for the rugwerk can be right behind the organist, for instance in the Martinikerk in Groningen. Also, I am aware ventils are called ventils, my autocorrect just messed up. Also, most of the registrants in the Netherlands are not professional organists, but girlfriends, wives and children, who have been trained by the organist himself. Ask any Dutch organist and they will say the same thing (including an actual Professor in Music I spoke a while back). In short, yes I am sane, yes I know what I am talking about, and yes sometimes something can get lost in translation.
This organ's warm/gutsy low mids, and your interpretation of this piece, is what a soul is supposed to feel like. Replayed this more times than I can count.
Such a lovely tremulant in the second movement. I was surprised - but then again I clearly don't know enough about this instrument. Beautiful rendition, Richard, as always!!
Well, Sir. What a pleasant surprise. Very nice performance indeed without the need for multi-layer combination pistons. One can make the Dutch organ sound quite nice in rendering music from other period and styles and you certainly demonstrated that. Well done.
Thank you so much for this wonderful recording, Richard! I played the finale tonight as the conclusion of a recital and had only a baroque organ with two manuals available. It was a true challenge for the registrant, but it was a lot of fun to perform this magnificent piece on that organ. What a wonderful surprise to hear this piece from you at this moment!
🤗👏🏾👏🏾👏🏾🌹A wonderful show! With beautiful music..💐 But kinda funny. The usual artist is out in front of the Audience, not off to the side or greater still; out of sight of the listeners..!😅 But still I'd of loved to be there looking at the structure and dreaming with the music.👏🏾👏🏾👏🏾😺💕
@beautyinsound Richard, it's a great pleasure to hear you play. This piece has accompanied me since I heard it as a little boy in the version for organ and orchestra in the Meistersingerhalle Nuremberg forty years ago. May I ask, which edition is this? - I have the Edition of Eaglefield Hull (Schott Verlag), yours seems to be a bit different in some details.
Marvelous job! Once again nice job on the part I love in the first movement. I was wondering if it’d be alright if I posted some videos from my recital two days ago in the fb group.
I should add IMHO Guilmant is one of the most underrated composers of Organ Music of all time
The intricacy of Guilmants work is just wonderful to perform. A much overlooked composer.
Holy Moly Heavenly Days Richard, That is an Amazing Organ, with a More Amazing Artist to Perform that Piece! I Applaud that Performance, and It Almost Sounds like I'm In the Abby, but my 100 watt per Channel Amp with JBL Studio Monitors Almost Let Me Have that Live Concert Sound, Thank You Richard for Sharing Your Amazing Talent with Us!
Masterful playing and musicianship Richard, and top quality audio and video recording too.
I've listened to countless performances of this wonderful sonata. One of the things I'm struck by, Richard, and it's not unique to this piece, is the clarity of your articulation. I'm struggling to think of an interpretation I've heard that brings out the individual notes more clearly (while not losing the phrasing and overall flow of the piece). Fabulous!
WOW! May I repeat? WOW! Gobsmacked by the sonority, the tone, the playing.
I've wanted to hear you play this for ages but never dared request it as I can see how challenging it is! Congratulations on your mastery of this piece and for the quality of the sound recording.. every note captured with crystal clarity.
Класс, я фанат Органа
As a Belgian I recall this sonata is dedicated to King Leopold II who considered music as unbearable noise, or maybe it was also as a tribute to his master Lemmens. Nice organ, sounds so French, thanks for this discovery and as always you master all styles. Congratulations.
Such a gorgeous instrument! And a wonderful accoustic - thanks Richard for bringing it to worldwide attention - I was so lucky to hear it in person last Christmas!! (Fab playing too :) )
My practise organ in 1964 en route to my organ lessons. Beautiful instrument. Thankyou for this Richard the organ sings!
Again thank you Richard. Really enjoyed it. Blessings
Wonderful. At last a performance at a sensible tempo. Like many great pieces, so often played too fast. This is brilliant. Thankyou
What a bravura performance. The organ sounds wonderfully French and the Sonata works very well on it. Wonderful clarity and articulation. Superb! I would be interested to hear your performance of his 'marche funebre et chant seraphaique.'
Thks for the wonderful concert. The organ sounds very good & is in a beautiful church.
Incredible sound
Absolutely stellar !!! Nice footwork!👏 and...... you do great socks.
Brilliant! It does not matter which genre, Richard, your interpretations are always bench mark quality! Being Dutch I know the limitations regarding only 10 or so programmable stop combinations make it more difficult for the performer to play symphonic music: but you pull it off wonderfully!
Why is it more difficult for a performer to play this with only 10 programmable stop combinations. People have been playing this piece since it was written long before programmable combinations were invented. They didn't have trouble. Have you ever hear of hand registrations. The REALLY GREAT organists of the 1800 and 1900's had no trouble. Why suddenly is this a problem. These gadgets on an organ have become more important than the music. In the present day organ specs do not brag about the stop list, rather how many layers and combinations there unmusical monstrosities have. Tell Fred Swann or E.Power Biggs or Edwin Lamare they lacked in combination setting and they would laugh at you. The majority of organists today are incompetent, they cant memorize their pieces, or are they too lazy, they have to have page turners - all the fad of late, often many of them can't even push the NEXT button. Someone has to reach in, on, around, and under the performer to do it for them. They are key pushers. Schriener, Widor and Bach would laugh at these pansies. Oh, Just a moment - How did Guillmant compose this piece without all those adjustable combination pieces? Please explain who Widow wrote 9 symphonic pieces with only ventils. How about Vierne. I understand why Messian wrote such crap, he was trying to change combination while playing. Fox might have been a show-off but he certainly had no trouble with registration. Neither did Mdm. Alain.
@@organbuilder272 I must say that most french repertoire has been written for a ventilator system, which is relatively good to use. Most dutch organs however have no ventils at all, meaning you need two registrants at all times on a large organ. Then, you as an organist need to train these registrants as well as find them in the first place. And then I am not even starting about the organs with the swell stops behind the organists back!
Good Grief!!! Ventilators What in hell to they have to do with a pipe organ. The Cavialle-Coll organs had VENTILS, a system of pneumatically actuated levers which controlled reeds, mixtures and specific groupings of stops and couplets. They were NOT adjustable from the console.
Ventilators, on the other hand are intended to remove, supply or interchance the air in a room, tunnel or sealed chamber, heat or cool an area or building or room.
The SWELL STOPS are either on the left or right stop jambs, easily accessible by the organist or registrants. The POSITIV DIVISION, which in many or most large European organs sits behind the organist, usually mounted in some fashion on the balcony rail. By its very location it provided a tonal counterpoint to the main organ located behind a large and impressive case, in front of an usually above the organist, containing the commonly known SWELL, PEDAL and GREAT divisions of the organ@@TimvanElderen
SO, Professor, I assume by your comment that the organist of today needs an army of assistants, not always available, who need to be trained to follow written notations as to when to change stops during the performance. SO - Judging by your commentary, the original composers of this music, and those who played it up to "Modern times" did not need, did not have, or did not use these rare and ignorant registrants to assist with the performance.
I have seen many organists play on dutch organs and it seems that many of the assistants were young, dexterous and able to take cues from the notations on the sheet music and a nod from the organists head to change stops and couplers. They are usually organists themselves and aware of how and when to change stops because they are familiar with the music. They don't seem to be the untrained, unskilled idiots that you represent.
I have not, however, seen it necessary for anyone to manipulate any of the ventilators anywhere in the organ, balcony or the church itself - whether it be France, NL, GB or the USA. Of course, few, if any, of those large, old churches are heated so I assume that ventilators are either not present or not necessary.
Ventilators. Are you sane? Ventils to control stops have been used by builders from the early 1800 until around 1880 (Maybe earlier) when Casavant invented the first adjustable combination action. Organists did well with between 4 to 8 pistons per division and 6 to 10 Generals until the 1990 period when the first multi-level electronic controls were developed.
You might want to be certain of what you are talking about before you go shooting your mouth off. Don't toss terminology around to try to show that you know what you are doing. Swell Divisions were never behind the organists, They were usually behind the Great in the main case or above the Great and always inside a wood box that had the ability to control the volume of the pipes inside that box or more properly CHAMBER through the use of SWELL SHADES.
@@organbuilder272 what I call swell is a translation from the dutch Rugwerk. Btw not all swell divisions are enclosed (for instance the recit devisions on various 18th century french organs). The stops for the rugwerk can be right behind the organist, for instance in the Martinikerk in Groningen. Also, I am aware ventils are called ventils, my autocorrect just messed up. Also, most of the registrants in the Netherlands are not professional organists, but girlfriends, wives and children, who have been trained by the organist himself. Ask any Dutch organist and they will say the same thing (including an actual Professor in Music I spoke a while back). In short, yes I am sane, yes I know what I am talking about, and yes sometimes something can get lost in translation.
Congratulations, Richard, on another fabulous performance and recording!
Thank you for interpreting this wonderful composition, which is rarely heard in whole. In most concerts only its 3rd movement is played.
Fabulous playing and an awesome recording! So glad I got to hear this beautiful instrument in person in January. Fab socks too! 😊
This organ's warm/gutsy low mids, and your interpretation of this piece, is what a soul is supposed to feel like. Replayed this more times than I can count.
Such a lovely tremulant in the second movement. I was surprised - but then again I clearly don't know enough about this instrument. Beautiful rendition, Richard, as always!!
이 곡을 레슨받고있는데 가장 참고할만한 연주입니다. 소리와 연주가 너무 훌륭하십니다
그리고 양말이 너무 사랑스러워요^^
Divine! Brilliantly exicuted!!
Simply wonderful, Richard. No matter the instrument or the composition, you bring out the best of it, always. Thank you.
Bravo! What a spectacular British instrument, so well presented.
That was wonderful Richard and the foot work was exceptional. Thank you
i literally just found this piece like last week and have been obsessed with it, perfect timing!
SAME
French Grandeur! Magnifique!!!
Well, Sir. What a pleasant surprise. Very nice performance indeed without the need for multi-layer combination pistons. One can make the Dutch organ sound quite nice in rendering music from other period and styles and you certainly demonstrated that. Well done.
Thank you so much for this wonderful recording, Richard! I played the finale tonight as the conclusion of a recital and had only a baroque organ with two manuals available. It was a true challenge for the registrant, but it was a lot of fun to perform this magnificent piece on that organ. What a wonderful surprise to hear this piece from you at this moment!
Brilliantly played, as always. ❤
Superb rendition.
Beautiful and calming music. Thank you.
absolutely wonderful what more can I say? Just loved it... thank you so much Richard.
Thank you - really appreciate that!
Beautiful sound! No wonder you like to play this organ!
A wonderful performance. The third movement was awesome.
Love it Richard ❤❤❤❤
Absolutely fantastic Richard! Is this the original version, or did you arrange it differently, as we were trying to follow it with the sheet music?
You're such a master musician!❤😊
Lovely Oboe stop.
Absoluty amazing playing!
❤❤❤
🤗👏🏾👏🏾👏🏾🌹A wonderful show! With beautiful music..💐 But kinda funny. The usual artist is out in front of the Audience, not off to the side or greater still; out of sight of the listeners..!😅 But still I'd of loved to be there looking at the structure and dreaming with the music.👏🏾👏🏾👏🏾😺💕
Are we getting a Hauptwerk set of this organ? He had mentioned hearing a famous tuba for the first time with Hauptwerk in a video recently...
@beautyinsound Richard, it's a great pleasure to hear you play. This piece has accompanied me since I heard it as a little boy in the version for organ and orchestra in the Meistersingerhalle Nuremberg forty years ago.
May I ask, which edition is this? - I have the Edition of Eaglefield Hull (Schott Verlag), yours seems to be a bit different in some details.
Marvelous job! Once again nice job on the part I love in the first movement. I was wondering if it’d be alright if I posted some videos from my recital two days ago in the fb group.
Fantastic performance. Any chance of the 5th Sonata sometime?
Don’t play the 5th… don’t even think I know it! I’ll check it out 😊
Good morning
Love 😂😂😂😂😂😂😂
I have some red hot news about this wonderful organ....
Rebuild?
Hauptwerk?
I think it is going to be sampled for Hauptwerk….see his comment in the short video of the crescendo
@@andrewloose3419 The sound is too perfect, too brilliant like Hauptwerk but there are nothing saying it's on hauptwerk
The socks 🧦 are pretty
Very cute socks! 😅 And the music is magnificent! 👏😃