I have discovered the music of Theodore Salome recently, a contemporary and colleague of Guilmant at Saint Trinite.Anybody else here play any of his music? I would be interested to hear what anyone thinks of it. He seems to be somewhat of an unknown to many, and quite unjustified too, I think, judging by the small amount I have looked at so far.</P>
[edit] The file is about 13MB - youmay have to bypass a few ads, and the download is slow unless you have a subscription. At the bottom of the page you'll see Your download should begin shortly. If it does not, try Download file now - I almost always have to click on that link inorder for it to proceed.</P>
Let's just say that the ER visits were not fun, and the video recording of the second visit is probably in the hands of the hospital's defense attorney. (I will pm the details.)</p>
Back to topic: Your performance brought tears to my eyes! And performed on a Clicquot/Cavaille-Coll no less. Did you study this piece in school?
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School? Oh no. I had heard this piece on a recording and searched high and low for it. It wasn't too hard to learn. As I had an opportunity to playthis fantastic early C-C organ, I couldn't imagine a piece better suited to that particular moment.</P>
That organ is something else isn't it? [:D] The reeds are quite terrifying - especially that one that was so very out of tune. It keptmy registrant (the one on my left) pretty busy trying to cancel the stop whenever the sour note appeared. [:)]</P>
School? Oh no. I had heard this piece on a recording and searched high and low for it for years. It wasn't too hard to learn, as I knew it so well from hearing the recording. As I had an opportunity to playthis fantastic early C-C organ, I couldn't imagine a piece better suited to that particular moment.</P>
That organ is something else isn't it? [:D] The reeds are quite terrifying - especially that one that was so very out of tune. It keptmy registrant (the one on my left) pretty busy trying to cancel the stop whenever the sour note appeared. [:)]</P>
Someday I'd love to see all the organs you've played around the world. Would make a nice thread, I think, but perhaps too many instruments to list!</P>
Loved the opening. You make the piece come to life!!! I've always found that cathedrals make it so difficult to play anything with life and keep it from turning to mush because of the reverb. That's always a hard call to make, deciding between articulation, tempo, andregistration.</P>
At 1:34, what happened to that pipe?!!! The registration for the middle section following more than made up for the mis-tuned pipe. I can't remember when I have heard a more luscious registration on a pipe organ.</P>
The organ world is well-served with you representing us. Thank you for sharing.</P>
Michael</P>
Way too many organs to list, but I do have 5 Allens:
WOW! What a great performance, evil reed notwithstanding. Might I ask a rather elementary question[:$]? What is it that gives the French organs such brilliance? It seems that with most American/British organs you can get loud(er?) but never acheive that incandescence that C-C had. Is it something about how the mixtures are designed?
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[quote user="myorgan"]Someday I'd love to see all the organs you've played around the world. Would make a nice thread, I think, but perhaps too many instruments to list![/quote]Hmm... I've never made a list. That would be a fun project...someday. [:)]</P>
[quote user="myorgan"]I've always found that cathedrals make it so difficult to play anything with life and keep it from turning to mush because of the reverb. That's always a hard call to make, deciding between articulation, tempo, andregistration.[/quote]That's interesting, since on re-hearing this recording I've been feeling the interpretation was a bit too much on the legato side. If I had detached the opening a bit more (perhaps only in the LH) it might have made it even more rhythmic... [*-)] Oh well, it is what it is.</P>
[quote user="myorgan"]At 1:34, what happened to that pipe?!!! The registration for the middle section following more than made up for the mis-tuned pipe. I can't remember when I have heard a more luscious registration on a pipe organ.[/quote]I hada very sharp registrant, who cancelled the stop when she heard that sour note! I was also trying to be on the ball, since I had decided to cut the chord off early so as to avoid the offending note; had I been a bit more sharp I would have realized that she was fixing the problem. So much drama occurs during a live performance on one of these organs! There is a lot of unspoken give and take between the performer and the registrants. There may also be quite a bit of vocal communication too - none of which is heard down below. Sometimes there is a very lively debate during the performance - it can be quite difficult to keep focus under such conditions.</P>
This piece actually required three registrants. The drawknobs pull out by the yard, virtually entrapping the organist (there is a Positif division immediately behind the bench). Without free access to both sides of the instrument there must be registrants on each side. I also shared the bench with a page-turner, who also operated the expression pedal. [:)]The pedal (a 19th century add-on)is located way off to the right, quite awkward to manipulate. I think one of my favorite things about this recording is the sound of the lightning-fast registration change at around 3'15". [8-|]</P>
[quote user="Havoc"]I notice that SB32 says the organ was a Cliquot to start with.Perhaps C-C kept part of it.[/quote]C-C was known to have admiredClicquot's reeds; I'm pretty sure these reeds are ancient.</P>
[quote user="Philip the organist"]What is it that gives the French organs such brilliance? It seems that with most American/British organs you can get loud(er?) but never acheive that incandescence that C-C had. Is it something about how the mixtures are designed?[/quote]It is not just C-C reeds, but French reeds in general. Most of them have parallel, domed shallots with rather large openings;the resonators are also quite generously scaled. These reed stops generate quite a lot of power and are rich in upper harmonics. Up close they seem rather raucous, but in a large reverberant stone church the sound is magnificent.</P>
Madame Langlais once said that St-Roch has the loudest reeds in Paris; I'm sure Notre-Dame is louder (to the point of being deafening) but there is a lot of truth in this statement. Encountering the full batterie d'anchesat the console is like hearing a thunderclap at close range! If you turn up the volume to a realistic level you can get asense ofthe wonderful 'terror'!</P>
FYI, here is the stoplist and history: St-Roch. Witha bit ofluck, I just might perform there again this summer. [:)]</P>
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