It's a lovely piece and your interpretation is most pleasing. Regarding your comments about composer's registration suggestions, it is not that the registration is incorrect, rather it is that organs of course vary enormously. It is nothing to do with a composer having passed away long ago; rather it is the style of organs about at the time. For example your earlier performance with the oboe could have been more effective with the oboe on a different instrument that is more suited in tonal quality to a French Romantic organ. Sometimes adding like an 8foot flute [or similar] to an oboe can make the world of a difference. Having for over 60 years enjoying playing for services, recitals etc on about 128 different pipe organs, our ears and the period and style of a composition are most important when registering. [You will be sorry that you invited comments!] Have you come across the beautiful 'Offertoire' which is number 3 of 'Ten Pieces for Organ' by Dubois? If not, I think that you love it and play it well. Cheers, Colin.
Thanks Colin, My other upload was played with the Cavaille-Coll from Oleron-St-Marie. With a beautiful oboe, but sometimes I'm in the mood for a more mellow approach. And you are absolutely right, your ears are the most important "decision tool." I gonna take a look to your suggestion!
This is a very beautiful 'Cantilène religieuse' by Dubois and I love its gentle harmonies, sentimental melody and pious mood. It sounds absolutely gorgeous with the registration choices you make on the glorious Marcussen Organ sample set (which lacks an oboe/hautbois!) . When composers leave registration suggestions on the score, it just usually indicates what stops they have chosen for the instrument they are playing. I'm sure if Dubois had played the piece on a Baroque organ from the time of Bach, he would have chosen stops that best suited the music on such an instrument. And that's the important factor . . . along with the acoustics of the building: finding sounds that best suit the intention/mood of the music - as interpreted by the performer. The composer's wishes always deserve due consideration, but for the music to live again, it is the performer who must have the final say. Fortunately, your 'final say' in your daily uploads usually manages to satisfy my tastes! Bravo, Rien!
Thanks for your extended reaction Graham. As you know, I value and consider always the question "Would the composer approve", for both living and long died composers. However there are plenty examples where I feel, or consider it almost balsfemy to make my own choices. I feel that strongly with Franck for instance.
such a beautiful calm piece and so wonderfully registered! I have often noticed that composers simply write solo reed, oboe, crumhorn or similar where they emphasise that the player should not forget that it will be a solo part.
Thanks! You of course are a great example by carefully making your choices in stops. Sometimes making other choices bring new aspects from the piece to the day light.
This is a very beautiful piece of Dubois. The solo you used sounds just like a Flute Harmonique. Although the composer requests and Oboe, if one didn't know the piece this registration works just as well. Bravo!
Serious piece ! Bravo ! I have played this one yet, it's on my to do with the Christmas piece of this opus. I love your interpretation with this smooth and peacefull registration, the oboe is a clever choice, it's a warm romantic one !
Very beautiful piece your are playing her and I love the registration. Thank you for playing pieces which I never have heard of-I have now got the score myself and I’m looking for to play the piece on my organ in Denmark☺️
Thank you very much for listening! It's a warm piece with beautiful harmonies! It's a piece that's also soothing for the organist. So, enjoy playing it!
Your experimentation -- part of the true art of an organist -- paid off well; it certainly is transformative. It's amazing how changes in registration, articulation, and tempo can make the same piece become several pieces. I listened to the original with the Oboe, and as registered, the Oboe is just a tad bit too hot (loud, strong) -- perhaps a bit too Baroque. I think that a more subdued Oboe -- perhaps with a tremulant, or another reed -- English horn, Cromorne, or Clarinet -- would also work well, and perhaps even have a somewhat haunting voice as well. I see that, given the availablility of different instruments and time to experiment and learn, your choices in registration, interpretation and articulation are growing in sophistication! :-)
Hahaha Thanks! The Oboe from Oleron is one of the most beautiful in the Hauptwerk world, but I could have turned down its volume a bit. Speaking about sophistication.... My tomorrows piece, that I just have recorded is at the other side of the spectrum. No subtleties at all.... Just allmost all stops from Rotterdam. Without the Chamades. I don't like the sound of Chamades. To sharp for my taste... (well, also that one is a bit sophisticated now I think about it....)
A nice piece and very well played, of course! I like this piece very much and I have played it often myself. Beause I have no different opportunities on my small organs, I always use the Gambe for the solo voice. But why is it raining?
Thanks! This is a charming piece that can even sound nicer on a small organ because of the intimate setting! Have you tried the Gambe as accompaniment and a principal 8' as solo? Can be beautiful too... And the rain is a reflection of the current weather over here! I made it with my video editing.
@@RienSchalkwijk Unfortunately it don't work, because the Gambe and the Principal are on the same manual. In the french romantic mostly the oboe is used with a Flute 8' or a different soft rank. The organists in that time knew this and so it isn't written in the score. I send you an e-mail with the script of a course from a organist (he was my organ teacher for a while) who has studied the french romantic organ music in Paris with Daniel Roth and Marie-Claire Alain.
It's a lovely piece and your interpretation is most pleasing. Regarding your comments about composer's registration suggestions, it is not that the registration is incorrect, rather it is that organs of course vary enormously. It is nothing to do with a composer having passed away long ago; rather it is the style of organs about at the time. For example your earlier performance with the oboe could have been more effective with the oboe on a different instrument that is more suited in tonal quality to a French Romantic organ. Sometimes adding like an 8foot flute [or similar] to an oboe can make the world of a difference. Having for over 60 years enjoying playing for services, recitals etc on about 128 different pipe organs, our ears and the period and style of a composition are most important when registering. [You will be sorry that you invited comments!] Have you come across the beautiful 'Offertoire' which is number 3 of 'Ten Pieces for Organ' by Dubois? If not, I think that you love it and play it well. Cheers, Colin.
Thanks Colin, My other upload was played with the Cavaille-Coll from Oleron-St-Marie. With a beautiful oboe, but sometimes I'm in the mood for a more mellow approach. And you are absolutely right, your ears are the most important "decision tool." I gonna take a look to your suggestion!
This is a very beautiful 'Cantilène religieuse' by Dubois and I love its gentle harmonies, sentimental melody and pious mood. It sounds absolutely gorgeous with the registration choices you make on the glorious Marcussen Organ sample set (which lacks an oboe/hautbois!) .
When composers leave registration suggestions on the score, it just usually indicates what stops they have chosen for the instrument they are playing. I'm sure if Dubois had played the piece on a Baroque organ from the time of Bach, he would have chosen stops that best suited the music on such an instrument. And that's the important factor . . . along with the acoustics of the building: finding sounds that best suit the intention/mood of the music - as interpreted by the performer. The composer's wishes always deserve due consideration, but for the music to live again, it is the performer who must have the final say. Fortunately, your 'final say' in your daily uploads usually manages to satisfy my tastes! Bravo, Rien!
Thanks for your extended reaction Graham. As you know, I value and consider always the question "Would the composer approve", for both living and long died composers. However there are plenty examples where I feel, or consider it almost balsfemy to make my own choices. I feel that strongly with Franck for instance.
Sehr berührendes Stück 🎶🎹🎶, außergewöhnlich registriert 🎶🎵🎶 und sehr einfühlsam gespielt 👍🔝👍
Vielen dank Reinhard!
One of my favorite Dubois piece! Thanks for your wonderful playing, Rien!
Thanks Alejandro! A nice example that beautiful music not always have to be difficult to play!
such a beautiful calm piece and so wonderfully registered! I have often noticed that composers simply write solo reed, oboe, crumhorn or similar where they emphasise that the player should not forget that it will be a solo part.
Thanks! You of course are a great example by carefully making your choices in stops. Sometimes making other choices bring new aspects from the piece to the day light.
This is a very beautiful piece of Dubois. The solo you used sounds just like a Flute Harmonique. Although the composer requests and Oboe, if one didn't know the piece this registration works just as well. Bravo!
Thanks James! I like the smooth harmonies from Dubois a lot!
So amazing. Love how it turned out! Your performacnes are always super great.
Thank you so much!
Congratulations for your beautiful, very romantic performance.
Thanks Alberto!
The nicest one from this Dubois collection. Very well played!
Thanks Markus, have you played all 7 yet?
@@RienSchalkwijk Yes, some are tricky but all playable
Serious piece ! Bravo ! I have played this one yet, it's on my to do with the Christmas piece of this opus. I love your interpretation with this smooth and peacefull registration, the oboe is a clever choice, it's a warm romantic one !
Thank you Remi! It's not too difficult!
very nice sound, played and composition. The video.. mwahh. to much raindrops i.m.o.
Thanks! Regarding the raindrops…I recorded this piece the day after my mother passed away. So the raindrops have a symbolic meaning…
Very beautiful piece your are playing her and I love the registration.
Thank you for playing pieces which I never have heard of-I have now got the score myself and I’m looking for to play the piece on my organ in Denmark☺️
Thank you very much for listening! It's a warm piece with beautiful harmonies! It's a piece that's also soothing for the organist. So, enjoy playing it!
Magnificent registration.
Haha Thanks! Dubois wrote beautiful music!
Your experimentation -- part of the true art of an organist -- paid off well; it certainly is transformative. It's amazing how changes in registration, articulation, and tempo can make the same piece become several pieces. I listened to the original with the Oboe, and as registered, the Oboe is just a tad bit too hot (loud, strong) -- perhaps a bit too Baroque. I think that a more subdued Oboe -- perhaps with a tremulant, or another reed -- English horn, Cromorne, or Clarinet -- would also work well, and perhaps even have a somewhat haunting voice as well. I see that, given the availablility of different instruments and time to experiment and learn, your choices in registration, interpretation and articulation are growing in sophistication! :-)
Hahaha Thanks! The Oboe from Oleron is one of the most beautiful in the Hauptwerk world, but I could have turned down its volume a bit. Speaking about sophistication.... My tomorrows piece, that I just have recorded is at the other side of the spectrum. No subtleties at all.... Just allmost all stops from Rotterdam. Without the Chamades. I don't like the sound of Chamades. To sharp for my taste... (well, also that one is a bit sophisticated now I think about it....)
I like this different registration!! Good idea ^.^
Thank you! 😊
I think thinking about registration is part of the organist's practice process! It deserves respect! Does it rain there too? 😀🥰😀
Yes it does! Autumn is coming! Thanks for listening Clara!
👍👍😊😊
Dank voor het luisteren Karel!
A nice piece and very well played, of course!
I like this piece very much and I have played it often myself. Beause I have no different opportunities on my small organs, I always use the Gambe for the solo voice.
But why is it raining?
Thanks! This is a charming piece that can even sound nicer on a small organ because of the intimate setting! Have you tried the Gambe as accompaniment and a principal 8' as solo? Can be beautiful too... And the rain is a reflection of the current weather over here! I made it with my video editing.
@@RienSchalkwijk Unfortunately it don't work, because the Gambe and the Principal are on the same manual.
In the french romantic mostly the oboe is used with a Flute 8' or a different soft rank. The organists in that time knew this and so it isn't written in the score.
I send you an e-mail with the script of a course from a organist (he was my organ teacher for a while) who has studied the french romantic organ music in Paris with Daniel Roth and Marie-Claire Alain.