Daniel Roth at St. Sulpice, Paris - Guilmant Andante
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- Опубліковано 1 лис 2024
- Daniel Roth, Organist Titulaire of the Grandes Orgues of St. Sulpice, performs on this instrument Alexandre Guilmant's "Andante con moto, op. 16 dedié a A. Cavaillé-Coll" during the Communion of a Sunday mass. Recorded by Tony Valillo 7 February 1999. FROM www.stsulpice.com. NOT TO BE COPIED WITHOUT PERMISSION.
I love Guilmant. He is my favorite composer besides Widor. Wrote some of the most beautiful music I have ever heard.
WOW! What a wonderful historical record to have! How many opportunities does one have to stand next to Daneil Roth as he plays the Grande Orgue of St Sulpice!!!!! Just to even see AND HEAR the couplers doing their thing! I'm thrilled!
Schöne Grüße aus Berlin Herr Daniel Roth Sie sind ein sehr guter Lehrer für mich man sollte die Hoffnung niemals aufgeben ich werde immer weiter ................
What a lovely piece. How nicely played, as well. Interesting to hear the barker levers clattering away. Give a wonderful idea of the slight tempo changes Roth makes. What a wonderful console. Imagine how much went into making all the ventils in those days. A great feat of technology that lets us hear this wonderful music even today.
Obviously Guilmant is good enough for Daniel Roth and good enough for me. I think Guilmant wrote from the heart and that is all a composer can do.
I played the first part of the piece, the prelude, 4 years ago, in my 5th grade exam! I was looking for this piece months ago and I didn't find it. Now I found it and I was not expecting at all ...
Cher Monsieur Roth,
Je suis éblouie par votre interprétation vraiment merveilleuse! Je suis en train de préparer mon diplôme C et je jouerai entre autres la "Communion" d'Alexandre Guilmant. J'essaierai de trouver les notes de cet Andante, op. 16 que vous jouez. J'ai commencé les leçons d'orgue il y a quatre ans (à l'âge de 63 ans!), soit une année avant ma retraite et je suis très heureuse d'avoir maintenant le temps de vivre ma grande passion, LA MUSIQUE après une carrière de 43 ans dans l'industrie pharmaceutique. Je vous souhaite beaucoup de joie et de satisfaction en tant qu'organiste et musicien et vous envoie mes meilleures salutations de Schöftland, village situé près d'Aarau (à une demi-heure de Zurich) en Suisse alémanique (ce qui explique que mon français n'est pas parfait...). Avec mes meilleurs voeux, Marguerite
It's better to record an organ from downstairs where you can hear the real sound produced; of course then its hard to synchronize with the video! About Guilmant, he wrote many different types of pieces and his style evolved a lot too. He had an immense influence as a pedagogue and musicologist, and made Bach into the center of the organist's repertoire, where before Guilmant in the 19th century organists played more or less popular tunes of the day, he revived Bach and French classical organ..
Wow. Great "behind the scenes" video. Thanks!
I feel it fascinating to be able to play such a spritual piece a credible way (thus a bit cold) whith such a disturbing environment. The trade mark of a great professionnal!
César Franck et Alexandre Guilmant étaient contemporains, et il me semble retrouver des couleurs des chorals du premier dans cette pièce. Grande spiritualité, tant dans l'oeuvre que dans l'interprétation...!
Wonderfully played, their is no equal to Daniel Roth. He is a professional organist par excellent!
Watching his fingering is such an education for me. The Master player or Organist!
"I can guarantee it's far more than you'll ever know." - Lopear27, July 2009.
Of course, my her/his mere say so, we not only believe this to be true, but we recognize her/his modesty and understand that this is a gross understatement, not to mention an exercise in humility.
Thank you for the compliment, friend.
Merci, monsieur Daniel Roth, remarquable interprétation, malgré tout, les redites de la partitions "auraient" dû être respectées D.BABEL
@organman52
We should not comfuse influences with copying.
Also, don't forget that even Bach and many other Baroque or not composers "stole" partially at least fragments or ideas from other pieces.
Comparing Bach and Buxtehude with Guilmant is impossible. They are two completely different things. By the way, no offence, but Organman52 you have to accept other opinions as well. You have to right to believe whatever you want but this does not change that others have different opinions
Das Erstaunliche ist, dass man die Flûte 4' noch 100 Meter weiter hinten hinter dem Altarbereich nahe Widors Grablege durch etliche Nachhallsekunden noch deutlich hören kann - das Instrument beeindruckt nicht allein durch seine symphonische Größe - ich wünschte, ich wäre dort zum Zuhören.
However, i must defend my original position further by saying that reguardless of the seemingly "unoriginal" nature of the music, i still think it is beautiful in its simplicity.
This is my idea of worship music.
Remember that prior to Cesar Franck, we he the genius (!) of Lefebvre-Wely as the greatest French composer of his era...
It's funny how he's not aware when to start playing ("euhhh.. j'y vais là ?")or what's going on after ("et ils font pas de chant de communion après ?" the other guy "je sais pas" :D). I did play many times organ at church when I was in high school and after few times you know when to play, etc, and you have in mind before the mass to ask the program and check everything needed. And it's not my job. Roth is a professional.. But yes, otherwise he plays perfectly well.
@organman52
Though we should not comfuse influencial characteristics, with copying.
Also, don't forget that even Bach and many other Baroque or not composers "stole" partially at least fragments or ideas from other pieces.
Greekolas spotted
In your opinion, what exactly makes this 'excellent'?
Though we should not comfuse influencial characteristics with copying.
Also, don't forget that even Bach and many other Baroque or not composers "stole" partially at least fragments or ideas from other pieces.
Comparing Bach and Buxtehude with Guilmant is impossible. They are two completely different things. By the way, no offence, but Organman52 you have to accept other opinions as well. You have to right to believe whatever you want but this does not change that others have different opinions.
I like me is beatifull
Right on, codeman. The 'music' of guilmant is completely empty. I don't even use his crap for preludes, postludes, etc. Why do that, when there is all that great Bach, Buxtehude, etc.? The worst problem, though, is that his 'music' is regarded as legitimate, albeit by a bunch of ignoramuses, simply because it was printed on paper, bound and published. Glad to know you.
... von unten aufgenommen wäre akustisch natürlich schöner, aber dann hätte man nicht diesen überirdisch perfekten Fingersatz sehen können!
Come on - don't knock yourself. There was a time, particularly before I studied with Nadia Boulanger, that I thought any music that was printed on music paper was great. Slowly over time, I realized that is definitely not the case. The 'copycat syndrome' started at the end of the 18th century and 'progessed' into the 19th with the likes of spohr and hummel. They simply poured new notes into existing forms. That's not music, it's exercise. I believe Guilmant is the same, only a little later.
Yes - you probably have 5 doctoral degrees. Thus, I admire you greatly. As for those who 'enjoyed' this video - what exactly did you like about it? As for kindly leaving - no can do - my mission is to expose - but never end - fraud.
Its unfortunate that Robert Fertitta, aka Organman52, has such a negative bias against the music of Guilmant. But that seems to be the case with many who have returned to the real world after studying with Boulanger. Bach and the Baroque are worshipped, and work of otheres until Vierne, Debussy, Poulenc, and Stravinski is entirely dismissed. Was all of Guilmant's music gold? No, but there were others who were worse off... Of equal interest being that Boulanger studied privately with Guilmant and of her own music beliving it to be of worthless value.
Meisterhaft gespielt, Jedoch technisch minderwertig konserviert !
Let's face it - name calling is childish and we do it out of exasperation - at least I resort to it that way. That said, I respect your opinion re: guilmant. I truly hope that you reach the point where you can truly distinguish between a master composer and a master copycat. guilmant was simply not a composer - he wrote 'models' pieces, thinking to himself that it was musical creation. I wrote dozens of such pieces in my training - all of which have no artistic value, but serve technique well.
E, judging from the video.
Rather than making false assumptions about my membership in that inane organization, why don't you do some research as to why I assert that Guilmant's music is of no value? Now THAT would be a wise use of your time.
If you wish to include Guilmant with the others, then you really need to study the music of the master composers in more detail. You say 'more dramatic' and speak of 'seriousness of purpose'. Just what do you know about what makes great music great? Without specific answers, we have no discussion.
For me, one of the most important issues surrounding music is WHEN it was written. There has been a wonderful evolution of style since the days of Gregorian Chant. mr. guilmant does not add a thing to that evolutionary process. He couldn't, for the simple reason that he was not BORN to create music. The fact that he WANTED to doesn't make it good.
@HHellwig1
@Ntalikeris666 guilmant contributed less than nothing toward the evolution of musical style. Therefore, I ask, how can you bring the master composers Bach and Buxtehude into this discussion? You obviously don't understand a number of key issues regarding style. The music world could not have done without Bach or Buxtehude, but guilmant would never be missed. He was an empty shell.
Forgive my typo - I meant UNoriginal in my previous comment. And shame on Mr. Roth for including this piece of crap in his repertoire.
To me, all of Guilmant sounds the same. He lacks originality and inspiration. But this particular piece is the most original I have yet to hear. How can a person of the late 19th/early 20th century call themselves a composer if all they do is write music that dates from 100 years earlier? And shame on the fine organists who play this drivel.
It figures - another organist who believes that Guilmant is original. As for your assertion that his 'music' is entirely characteristic of the era - 1] you are repeating that which you have heard said by others and 2] you can't possibly know the first thing about the music of Liszt, Franck, Dvorak, Saint-Saens, Gounod, Grieg, Brahms, Verdi and Wagner. Folks like you only hear superficially - you have no concept of the magic of thematic unity and diversity - if you did, you would reject Guilmant.
Alrght, you may have me there. And before i say what i plan to say next, as a Christian, i must apologize for my own er'rs first. I am sorry that i called you a monkey, that was rude and inapropriate. I was simply frustrated about this conversation. That being said, you can call me ignorant all you want, but i would appreciate not being call an idiot. You have a right to your opinion and i must say, the Prose and Hymne from the Organiste Liturgiste do seem a little... Repetative.
No - you're sick of hearing the truth.
The mechanical noise of the organ drives me nuts.Does not do justice to the performer.Hope the organ is silent by now.
Though we should not comfuse influencial characteristics with copying.
Also, don't forget that even Bach and many other Baroque or not composers "stole" partially at least fragments or ideas from other pieces.
Comparing Bach and Buxtehude with Guilmant is impossible. They are two completely different things. By the way, no offence, but Organman52 you have to accept other opinions as well. You have to right to believe whatever you want but this does not change that others have different opinions.