I love this particular organ music, from years ago, when I listened to my organist brother, as a very young woman.I am now 75 yrs if age, & still have a great affection for this 'delicious ' music.I am in love with Notre Dame cathedrals organ Thankyou., which I must say, I did once visit this Cathedral while in France with my daughter in 2016.
Stunning beyond words. Unfortunately, even listening on Bose headphones does not reproduce anywhere near the fidelity required to truly enjoy this life-affirming piece.
ua-cam.com/video/0eZcFMRQXfE/v-deo.html here you can listen to him with this piece in a audiophile recording quality (Deutsche Grammophon 2005) .... i guess it is even the same organ !!!
What a wonderful organ and its outstanding timbres. I would like to thank you very much for your fantastic playing and the beautiful impressions of Notre-Dame Cathedral and especially the organ.
How are things getting on with the rebuilding? It seems only a little while ago I watched the arrival and installation of the new Console at Notre Dame de Paris. Olivier Latry is an amazing Organist - he plays so much from memory as well. He also has big hands! I wonder what his compass of notes is? Good youtube to watch: "Rachmaninoff had big hands" - true on all counts!
Whenever I listen to Franck's music, particularly his quieter more reflective pieces, I am always left with the impression that there was a man entirely at peace with himself and his God.
This brings to mind an Australian radio doco on Notre Dame, in whiçh Latry played. The producers were allowed to place a microphone inside the organ, synchronised with the main one in the nave. Latry commenced playing with the sound picked up by the inside mic. It was thin and lacklustre. Slowly, the nave mic was mixed in, and the transformation was wondrous. It demonstrated the saying that 'perhaps the most important stop on an organ is the space into which it's sounding'.
They can't play the organ at this time because the vibrations could cause the building to fall. Not to mention the organ needs to be taken apart and all the lead dust cleaned out.
Not an easy feat to achieve this level of performance-- particularly of No. 1. It seems one must 1) "breathe the very air" of Paris to get there with 20/20 marks. The Seine close by with its centuries of history going back to some original settlement with the two "Buttes" in view and this sense that we are inside the very beating heart and lifeblood of European, Latin and French civilization. Civilization that has taken its beatings, all the better to display that ever-so modest, not drawn out "rayonnement" that *almost* abruptly ends the piece. After all, two more such monumental "songs" are to follow. The b minor into the deepest (aesthetically representable) depths and upward into a believable sense of human calm that maybe only Bach's written notes have been able to transmit before or since. Then the A Major; no words can do justice to the clear premonition of an eternal state where an individual and a whole community has "overcome the world" and its xxyyzz--and *somehow* not been overcome by it. Helped along by goodnesses of codeword "Paris;" and not overcome by its opposing potential cruelties. But also!: An adequate, powerfully emotional performance of the E major must also require having lived with and thought over many times the two strains of Franck performance, namely, Vierne-Tournemire-Langlais-Flor Peters on the one hand...and let us simply say Dupré on the other. Far be it from an American to try even to describe both in terms that risk being not-French. What perhaps the Ricain 😁 outsider can say is that those two strains of performance are the only places to look to maximize Franck since the good "Pater Seraphicus" left us. Franck does not tolerate individual, perhaps stereotypically national flights of fancy. Let's not mention names or countries, right? Mais Olivier: je veux le dire en français mais n'offensons pas l'unité de langue dans une appréciation si brève et passagère. You to my ears and to my emotional makeup achieved a very intelligent synthesis of both schools, but with a certain surplus that is all you. Amid the rigor and also the necessary gives and takes (not rubato), shot UP a volley of arrows--not unlike Cupid's arrows--that can only be French. A "French" that has given me an alternate universe since the age of 18. A universe on which so many of us of all nations can rely. You and Notre Dame and Ile -de-la-Cité and Cavaillé-Coll added to that "reliance" pretty big time tonight as I listened yet again to #1 beginning to end. Merci bien hein, Mark (Arizona) ===== Et à coup sûr: Vive la France (!)
Olivier Latry monitors the Bornemann score, revisited by Marcel Dupré, which has some differences with the Durand score, especially about the registration. I think that the Durand's is closer to original Franck's phrasing and registration. Olivier Latry suit la partition de Bornemann, révisée par Marcel Dupré, qui a des différences avec l'édition Durand, surtout en ce qui concerne la registration. Je pense que l'édition Durand est plus proche du phrasé et de la registration d'origine de Franck.
Notice his habit of lengthening the sixteenth in a dotted-eighth/sixteenth figure. This stands in contrast to the practice heard in e.g. Tournemire's recordings of Franck, in which time is redistributed, instead of being added. Constantly adding incremental duration -- heard here in other ways as well -- distends the pulse and constantly interrupts flow and losing much of the needed continuity. OTOH, his completely ignoring the composer's clearly indicated ritardando on the penultimate page (ms. 231-232) is completely baffling.
![[Notre-Dame] Passacaglia and Fugue in C minor](http://i.ytimg.com/vi/TN7xYP2i0Bs/mqdefault.jpg)
The architecture of this chorale is astounding: a cathedral in music.
my favorite of the three
Yes, and filled with wonderfully singing melodies.
This music gives me hope for the future of the church and organ music which I love so much, thank you Monsieur Latry
well... this was written well over 100 years ago...
I love the Great Organ of The Cathedral of Notre Dame of Paris. It a wonderful instrument
Escuché este coral por primera vez a los 17 años. Y me fascinó. Ahora me topo con él. Hermosa pieza de César Franck.
I love this particular organ music, from years ago, when I listened to my organist brother, as a very young woman.I am now 75 yrs if age, & still have a great affection for this 'delicious ' music.I am in love with Notre Dame cathedrals organ Thankyou., which I must say, I did once visit this Cathedral while in France with my daughter in 2016.
I'm one of the biggest Olivier Latry fans out there and I thought this was spectacular.
I am not, but I also thought this was spectacular
Oh, hey Hadley.
@@dallinbissett1992 hi Dallin
Stunning beyond words. Unfortunately, even listening on Bose headphones does not reproduce anywhere near the fidelity required to truly enjoy this life-affirming piece.
The main problem is that the recording is monophonic.
ua-cam.com/video/0eZcFMRQXfE/v-deo.html here you can listen to him with this piece in a audiophile recording quality (Deutsche Grammophon 2005) .... i guess it is even the same organ !!!
My prayers for the people of paris and the “The Great king of Notre Dame and of Paris”! Long live the King! ❤️❤️❤️✝️😇.
Glorious music from the beloved Notre-Dame de Paris. Thank You Maestro Olivier Latry
Cher Olivier et Chère Mme Lee: ¡J'espère que vous allez bien tous les deux! ¡Mes meilleurs voeux d'ici, Madrid! ¡À bientôt!
A vox humana on this organ so perfect that could make you weep. Spectacular.
Beautiful!
Omg the climax will make you see God!
Beautyfull performance! :)
magnificent playing and recording!
What a splendid, full-bodied sound; beautiful.
Beautiful playing.
Beautifully played, and what a real Cavaillé - Coll - sound! Franck would have liked that very much!
Magnifique ❤️
The great reference organist of our time
Très jolie et par coeur!
What a wonderful organ and its outstanding timbres. I would like to thank you very much for your fantastic playing and the beautiful impressions of Notre-Dame Cathedral and especially the organ.
Exquisite ❤
Wonderful!
I have played it many times in St. Joseph's Church (I am retired now). It sounds very well there, as you know!
How are things getting on with the rebuilding? It seems only a little while ago I watched the arrival and installation of the new Console at Notre Dame de Paris. Olivier Latry is an amazing Organist - he plays so much from memory as well. He also has big hands! I wonder what his compass of notes is? Good youtube to watch: "Rachmaninoff had big hands" - true on all counts!
Bravo Maestro Latry!
Whenever I listen to Franck's music, particularly his quieter more reflective pieces, I am always left with the impression that there was a man entirely at peace with himself and his God.
this and Doug Marshal are the 2 best versions for these chorales ,for sure
Mercy!
This brings to mind an Australian radio doco on Notre Dame, in whiçh Latry played.
The producers were allowed to place a microphone inside the organ, synchronised with the main one in the nave.
Latry commenced playing with the sound picked up by the inside mic. It was thin and lacklustre.
Slowly, the nave mic was mixed in, and the transformation was wondrous.
It demonstrated the saying that 'perhaps the most important stop on an organ is the space into which it's sounding'.
Thank you so much!
Is that the salvaged organ of Notre Dame?
The recording is from Sept. 2018 and as far as I'm informed the main organ wasn't burned, likely has some smoke and possible water damage...
Only a big layer of dust...
They can't play the organ at this time because the vibrations could cause the building to fall. Not to mention the organ needs to be taken apart and all the lead dust cleaned out.
Not an easy feat to achieve this level of performance-- particularly of No. 1. It seems one must
1) "breathe the very air" of Paris to get there with 20/20 marks. The Seine close by with its centuries of history going back to some original settlement with the two "Buttes" in view and this sense that we are inside the very beating heart and lifeblood of European, Latin and French civilization. Civilization that has taken its beatings, all the better to display that ever-so modest, not drawn out "rayonnement" that *almost* abruptly ends the piece. After all, two more such monumental "songs" are to follow. The b minor into the deepest (aesthetically representable) depths and upward into a believable sense of human calm that maybe only Bach's written notes have been able to transmit before or since. Then the A Major; no words can do justice to the clear premonition of an eternal state where an individual and a whole community has "overcome the world" and its xxyyzz--and *somehow* not been overcome by it. Helped along by goodnesses of codeword "Paris;" and not overcome by its opposing potential cruelties.
But also!: An adequate, powerfully emotional performance of the E major must also require having lived with and thought over many times the two strains of Franck performance, namely, Vierne-Tournemire-Langlais-Flor Peters on the one hand...and let us simply say Dupré on the other. Far be it from an American to try even to describe both in terms that risk being not-French. What perhaps the Ricain 😁 outsider can say is that those two strains of performance are the only places to look to maximize Franck since the good "Pater Seraphicus" left us. Franck does not tolerate individual, perhaps stereotypically national flights of fancy. Let's not mention names or countries, right?
Mais Olivier: je veux le dire en français mais n'offensons pas l'unité de langue dans une appréciation si brève et passagère. You to my ears and to my emotional makeup achieved a very intelligent synthesis of both schools, but with a certain surplus that is all you. Amid the rigor and also the necessary gives and takes (not rubato), shot UP a volley of arrows--not unlike Cupid's arrows--that can only be French. A "French" that has given me an alternate universe since the age of 18. A universe on which so many of us of all nations can rely. You and Notre Dame and Ile -de-la-Cité and Cavaillé-Coll added to that "reliance" pretty big time tonight as I listened yet again to #1 beginning to end. Merci bien hein, Mark (Arizona)
=====
Et à coup sûr: Vive la France (!)
Olivier Latry monitors the Bornemann score, revisited by Marcel Dupré, which has some differences with the Durand score, especially about the registration. I think that the Durand's is closer to original Franck's phrasing and registration.
Olivier Latry suit la partition de Bornemann, révisée par Marcel Dupré, qui a des différences avec l'édition Durand, surtout en ce qui concerne la registration. Je pense que l'édition Durand est plus proche du phrasé et de la registration d'origine de Franck.
anybody know if the GREAT at NDP is assigned to the LOWEST manual or does that console have a great/choir manual interchange feature?
It is a French organ what do you think ??????!!!!!!!
@@elgar57 that configuration is most ergonomically friendly to play
Yep, Great is lowest is Great, then Positif, Recit, Solo and Grande Choeur. Great and Pos. are interchangeable.
quite different to Germanni version may be better
0:06
Notice his habit of lengthening the sixteenth in a dotted-eighth/sixteenth figure. This stands in contrast to the practice heard in e.g. Tournemire's recordings of Franck, in which time is redistributed, instead of being added. Constantly adding incremental duration -- heard here in other ways as well -- distends the pulse and constantly interrupts flow and losing much of the needed continuity. OTOH, his completely ignoring the composer's clearly indicated ritardando on the penultimate page (ms. 231-232) is completely baffling.
He always plays TOO FAST….
❤❤❤❤