Mon ami me manque tellement... il reste ces incroyables témoignages du génie pour lequel on ne pouvait que l'admirer et l'aimer. Je reste toujours émerveillé et interdit devant ces chefs-d'œuvre.
Extraordinaire PierrePincemaille, quel artiste, interprète et improvisateur , technique hors pair, le sens de l'harmonie, de la mise en relief sonore depuis le récit d'une simple flute jusqu'à l'explosion du tutti général , toutes anches 32-16-8-4 et chamades au rendez-vous : merci Pierre, repose en paix après nous avoir apporté tout ton talent de musicien aux claviers du 1er A. Cavaillé-Coll, de la basilique St Denis : merci !
Die Mixturen und Chamaden verunstalten nach meinem Empfinden den Gesamtklang der Orgel. Pincemaille konzentriert sich auf grandiose und bewundernswerte Art auch auf die lyrischen Stimmen dieses inhomogenen Instruments.
Ah Bert, the organ has moved a long way since the time of Jean Langlais, let alone Charles Tournemire and Cesar Franck! you had better find some old recordings before they become extinct! Very much more a smaller "Notre Dame de Paris" now in the Pierre Cochereau style, with chamades and 32' reed as well as more technologically advanced console. Still some lovely sounds to be had though. Pierre Pincemaille doing some fine improvising here.
I can't believe they did this to Franck's organ. The people repsonsible for this and the organ builder who accepted this commission ought to be ashamed of themselves.
One of the first thoughts that comes to mind as an American organbuilder watching and listening to all these French organs is that if we left a church with the organ's tuning in the condition in which I hear most of these famous French instruments, we would be fired instantly. That may sound pedantic but it's the truth. Nevertheless thanks for posting.
afdcomposer It's the very slight 'out of tune-ness' that adds to the great character of such instruments. The American instruments I've heard are far, far too perfect, and sound almost synthesised. Give me the organ in its homeland anyday…
L'accord doit bouger un tout petit peu avant qu'un orgue sonne bien. Il faut qu'il y ait un léger effet de "chorus" qui fait que l'instrument sonne comme un orchestre. C'est le chorus qui fait que l'orgue résonne et remplit une cathédrale immense. Un orgue trop bien accordé sonne "plat" tandis qu'un orgue avec du chorus sonne plein. Il faut trouver la bon équilibre entre un son orchestral et un son complètement faux. De toute façon, c'est la même histoire avec l'accordéon musette. L'accordéon musette fonctionne comme l'orgue, il y a 3 rangs pour chaque notes, elles sont à l'unisson, mais la première voix est accordée quelques hertz en dessous, la deuxième est accordée au diapason, est la troisième quelques hertz au dessus. Et c'est comme ça que le son sans être extrêmement puissant, portait très loin par des harmoniques très riches produites par ce "frottement".
It is so tragic that this once unique instrument, the instrument that was the inspiration for Cesar Frank's masterpieces is no more. Vandalised by people who should have know better it is now just a bland dull electropneumatic Euro Organ. What a lot of gagets and switches it has? A real musician will look at them and laugh. But to the "organist" they are a sign of status. History is full of strange reversals, who knows, one day they might get the console back that Franck played ; and put the instrument through a long loving restoration to what the genius who built it and the genius who played it knew and loved
The story of the Ste Clotilde instrument is certainly a cautionary tale to the greedy organist. Tournemire was careful to instruct the organ-builders of the 1933 renovations not to alter the voicing of the existing pipework when they made their additions. But the changes to the internal layout of the organ were enough to throw off the delicate balance of Cavaillé-Coll's voicing, and eventually Tournemire had to admit that the sound which was Franck's pride, joy and inspiration was lost. As for today, protecting the remaining CC masterpieces is more important than trying to reconstruct what has been lost. If Tournemire, Duruflé, et al are to be believed, CC himself never managed to replicate the Ste Clotilde sound anywhere else, so what are the chances of being able to do it now?
You totally right ! I would say however that a serious organist would never accept this kind of modifications in order to aquire more "status" as you wisely said. For example Daniel Roth and Christophe Mantoux.
Mon ami me manque tellement... il reste ces incroyables témoignages du génie pour lequel on ne pouvait que l'admirer et l'aimer.
Je reste toujours émerveillé et interdit devant ces chefs-d'œuvre.
Extraordinaire PierrePincemaille, quel artiste, interprète et improvisateur , technique hors pair, le sens de l'harmonie, de la mise en relief sonore depuis le récit d'une simple flute jusqu'à l'explosion du tutti général , toutes anches 32-16-8-4 et chamades au rendez-vous : merci Pierre, repose en paix après nous avoir apporté tout ton talent de musicien aux claviers du 1er A. Cavaillé-Coll, de la basilique St Denis : merci !
Paix à l'âme de mon maître Pierre Pincemaille décédé ce matin 12 janvier 2018
great use of the 'sequencer' wonderful console and a great improv!!!
OMG VRIAMENT ENCROYABLE
Die Mixturen und Chamaden verunstalten nach meinem Empfinden den Gesamtklang der Orgel. Pincemaille konzentriert sich auf grandiose und bewundernswerte Art auch auf die lyrischen Stimmen dieses inhomogenen Instruments.
Very nice Pierre!
Ah Bert, the organ has moved a long way since the time of Jean Langlais, let alone Charles Tournemire and Cesar Franck! you had better find some old recordings before they become extinct!
Very much more a smaller "Notre Dame de Paris" now in the Pierre Cochereau style, with chamades and 32' reed as well as more technologically advanced console. Still some lovely sounds to be had though. Pierre Pincemaille doing some fine improvising here.
bello, darrei la vità, per improvvisare- compore- suonare, come lui!?
Fantastic improvisation!
Just a question: What microphones did you use to record this piece?
Dit zijn Van Medevoort Microfoon's vM C1000 www.vanmedevoortaudio.nl
Maître
Grand ip
Grand improvisateur, comparable à Jean Langlais à Sainte-Clotilde !
Is this the organ at Ste Clotilde? Chamades? Where is the sound of Langlais?
GONE FOR EVER
I can't believe they did this to Franck's organ. The people repsonsible for this and the organ builder who accepted this commission ought to be ashamed of themselves.
GAH! I thought this be a song 'bout Meredith Baxter Birney, not a stick o' wood in my eye! 😬
😁
One of the first thoughts that comes to mind as an American organbuilder watching and listening to all these French organs is that if we left a church with the organ's tuning in the condition in which I hear most of these famous French instruments, we would be fired instantly.
That may sound pedantic but it's the truth.
Nevertheless thanks for posting.
afdcomposer It's the very slight 'out of tune-ness' that adds to the great character of such instruments. The American instruments I've heard are far, far too perfect, and sound almost synthesised. Give me the organ in its homeland anyday…
@@marsvltor2 funny, in my opinion they still sound a metric f***ton better
L'accord doit bouger un tout petit peu avant qu'un orgue sonne bien. Il faut qu'il y ait un léger effet de "chorus" qui fait que l'instrument sonne comme un orchestre. C'est le chorus qui fait que l'orgue résonne et remplit une cathédrale immense. Un orgue trop bien accordé sonne "plat" tandis qu'un orgue avec du chorus sonne plein. Il faut trouver la bon équilibre entre un son orchestral et un son complètement faux. De toute façon, c'est la même histoire avec l'accordéon musette. L'accordéon musette fonctionne comme l'orgue, il y a 3 rangs pour chaque notes, elles sont à l'unisson, mais la première voix est accordée quelques hertz en dessous, la deuxième est accordée au diapason, est la troisième quelques hertz au dessus. Et c'est comme ça que le son sans être extrêmement puissant, portait très loin par des harmoniques très riches produites par ce "frottement".
It is so tragic that this once unique instrument, the instrument that was the
inspiration for Cesar Frank's masterpieces is no more.
Vandalised by people who should have know better it is now just a bland
dull electropneumatic Euro Organ.
What a lot of gagets and switches it has?
A real musician will look at them and laugh.
But to the "organist" they are a sign of status.
History is full of strange reversals, who knows, one day they might get the
console back that Franck played ; and put the instrument through a long
loving restoration to what the genius who built it and the genius who
played it knew and loved
The story of the Ste Clotilde instrument is certainly a cautionary tale to the greedy organist. Tournemire was careful to instruct the organ-builders of the 1933 renovations not to alter the voicing of the existing pipework when they made their additions. But the changes to the internal layout of the organ were enough to throw off the delicate balance of Cavaillé-Coll's voicing, and eventually Tournemire had to admit that the sound which was Franck's pride, joy and inspiration was lost.
As for today, protecting the remaining CC masterpieces is more important than trying to reconstruct what has been lost. If Tournemire, Duruflé, et al are to be believed, CC himself never managed to replicate the Ste Clotilde sound anywhere else, so what are the chances of being able to do it now?
You totally right ! I would say however that a serious organist would never accept this kind of modifications in order to aquire more "status" as you wisely said. For example Daniel Roth and Christophe Mantoux.
@@stylusfantasticus Thank you
Mais le thème, quoi... plus fade, y'a pas... il fallait bien un génie comme lui pour en tirer quelque chose !