A fabulous performance, Ben - and really beautifully registered. (The 'French' sounds you coax from this gorgeous Downes/Walker Organ really are quite astonishing, especially the Swell 'Vox Humana' with tremulant effect!) The organ music of César Franck (always wonderfully tuneful, harmonically rich and superbly crafted) has become such a staple of the repertory that it is easy to forget how revolutionary his music was in 19th-century France. Embracing a new vogue for non-ecclesiastical concert music for organ, Franck gave the King of Instruments new nobility and romantic expression. The twelve pieces he wrote for organ during his lifetime (published in three collections) also seeded a great flowering of dramatic French organ music carried forward by his illustrious successors, giants such as Guilmant, Widor, Vierne, Tournemire, Dupré, Duruflé and Messiaen - to name but a few! I'm sure you'll be aware that the organ’s evolving identity as a concert, as opposed to just liturgical, instrument on the other side of 'La Manche' prompted the creation of France’s first major concert-hall organ built, of course, by Aristide CavailléColl for the Trocadéro Palace - an eclectic extravaganza that was erected for the 1878 Universal Exposition. Franck's 'Trois Piéces' (Fantaisie en la, Cantabile and Pièce Héroïque), were finished by the composer in only seven days (!) and just two weeks before their premiere performance on 1 October for the inauguration of the new Cavaillé-Coll concert organ. All the instruments being exhibited offered outstanding sound capacities and modern construction solutions, helping to initiate a new trend in organ music composition. From that time, performing music outside of churches (in concert halls with organs installed) became possible. 'Trois Pièces', dedicated to this Cavaillé-Coll concert organ, having a secular title and presenting stylistic diversity (a combination of tradition with innovation), were very well received, gaining applause both from the critics and the audience. And I could hear applause at the end of your performance, Ben, which was also richly deserved: bravo!
Love how the meldy on the pedals is translated onto the swell and great (or vica versa) and the use of the tremulant is so effective. Thanks for playing and posting this Ben.
So beautiful!
A fabulous performance, Ben - and really beautifully registered. (The 'French' sounds you coax from this gorgeous Downes/Walker Organ really are quite astonishing, especially the Swell 'Vox Humana' with tremulant effect!)
The organ music of César Franck (always wonderfully tuneful, harmonically rich and superbly crafted) has become such a staple of the repertory that it is easy to forget how revolutionary his music was in 19th-century France. Embracing a new vogue for non-ecclesiastical concert music for organ, Franck gave the King of Instruments new nobility and romantic expression. The twelve pieces he wrote for organ during his lifetime (published in three collections) also seeded a great flowering of dramatic French organ music carried forward by his illustrious successors, giants such as Guilmant, Widor, Vierne, Tournemire, Dupré, Duruflé and Messiaen - to name but a few!
I'm sure you'll be aware that the organ’s evolving identity as a concert, as opposed to just liturgical, instrument on the other side of 'La Manche' prompted the creation of France’s first major concert-hall organ built, of course, by Aristide CavailléColl for the Trocadéro Palace - an eclectic extravaganza that was erected for the 1878 Universal Exposition. Franck's 'Trois Piéces' (Fantaisie en la, Cantabile and Pièce Héroïque), were finished by the composer in only seven days (!) and just two weeks before their premiere performance on 1 October for the inauguration of the new Cavaillé-Coll concert organ. All the instruments being exhibited offered outstanding sound capacities and modern construction solutions, helping to initiate a new trend in organ music composition. From that time, performing music outside of churches (in concert halls with organs installed) became possible. 'Trois Pièces', dedicated to this Cavaillé-Coll concert organ, having a secular title and presenting stylistic diversity (a combination of tradition with innovation), were very well received, gaining applause both from the critics and the audience. And I could hear applause at the end of your performance, Ben, which was also richly deserved: bravo!
Love how the meldy on the pedals is translated onto the swell and great (or vica versa) and the use of the tremulant is so effective. Thanks for playing and posting this Ben.
The tune reminds me of amazing grace for some reason, also that organ sounds really interesting.