Nigel Potts - Sonata No. 1 by Guilmant
Вставка
- Опубліковано 30 жов 2024
- Nigel Potts performing Sonata No.1, Op. 42 (complete) by Alexandre Guilmant in a live recital on the Lively-Fulcher organ at Christ Church Cathedral in Nashville, TN, April 2012. www.nigelpotts.com
Brilliant! Just brilliant, Nigel. The colors are so rich. Thank you!
The Finale of this is over the top spectacular. Well done, Nigel!
Fantastic.Thank you very much.
Although others find the tempi faster than expected Nigel I must respond and remark that I find your performance refreshing. The registration is very appropriate and the entirety of the piece is marvelous!
Nigel - you are an incredible player. I LOVE to listen to you!
I'm pleased to listen you playing A. Guilmant, french organist and "parisianer" (or "meudonner" more exactly ) as me .
You have the great chance to have very large and great organs in USA, when we have also the chance to have a large sum of historical organs, especially from A. Cavaillé-Coll : St Sulpice and Notre Dame in Paris, St Ouen in Rouen, St Sernin in Toulouse..., very appropriate to play Guilmant, Lemmens, Gigout, Franck, Widor, Vierne... Many thanks for your beautiful record of this Sonate I knew only partially . It was a great pleasure for me !
I just suggest you to play and record other pices of Guilmant, like this "Grand Choeur" , in this other record in Franceua-cam.com/video/eYN8mqgfMGs/v-deo.html ; I'm now your follower on UA-cam...
Nice job maestro Potts. ...with à great sensibility🌟🌟🌟🔼
Those last few magnificent chords need to be given time to breathe, and the last chord should sound forever.....
Splendid registrations (especially luv the transition at 11:13) - some real He-Man material here - well done!
I think it a bit too fast. We must respect the performers interpretation, however. It is a shame that the building is so dead. Typical of the modern trend in churches. They forget that music is about half the service. How nice the choir, solo singers and pastor would sound if the building had greater response. Can't have everything I suppose. Nicely played, no matter what speed.
I would guess that the performer has chosen to play at the faster tempo as a compromisation of the buildings' acoustic, but what a lovely performance overall.
8:37
Much as I hate to say this, the Finale comes across to me as being rushed--it's simply too fast. The late Dr. John Obetz was as fine an interpreter of the Finale as I have ever heard, and he NEVER played it this fast! Also, the sound quality, even given UA-cam's limitations, is woefully lacking in the bass registers. I respectfully suggest that Mr. Potts rethink his style of performance as far as this piece is concerned.
Tom Nichol I'm surprised you find the finale too fast. I have a tape of Simon Preston playing this sonata at the Royal Festival Hall in 1990, and he takes the finale appreciably faster than Nigel Potts; even so, I find it completely satisfying. So much, of course, depends on the acoustic: in the RFH it was even drier in 1990 than it is today, before the post-2005 revamp of the hall. It's a lively, humorous piece; at least, that's how I look on it. If played in a dry acoustic at the sort of tempo one is restricted to by the reverberation in Notre Dame or St Ouen, it would end up just sounding pompous and, frankly, boring.
I appreciate your inclusion, Tom, about Dr. John Obetz. Throughout his career at the Community of Christ (RLDS) denominational headquarters in Independence, MO, he was not only a "live" mentor to a vast number of local university students (UMKC) and KU students who drove over and attended his concert,) but through his recorded weekly program "The Auditorium Organ" which thousands of listeners learned and benefited from. Dr. John was the first person I heard play this work. His performance became a "model" to me, perfect in every way. And, he always knew exactly when to give the State Trumpets their chance to greatly enchance a work! GOSH, I miss him: his musicality, his perfectly prepared repertoire, his wonderfully organized programs and his fantastic sense of humor.
My guess is that he has chosen tempi based on this sadly acoustically dead room. French Grand Orgue music never sounds "right" in such acoustics. It's surprising as all the surfaces look hard, but I'm guessing they are very soft/porous.
Too fast! It's written Grave, not allegro!!!
Great instrument, and great performance! - tempi well adapted to that AWFUL dead acoustic.
Nigel, I do hope you have learned to play this a bit slower. It is rushed and the profound chords and passages are lost in haste. Nigel, your pants, as far as I can see, are NOT on fire. You do not have to worry about putting them out until you finish the performance. Take your time. Relax, The taxi driver is in the building and the meter is off.