Name of This Piece?

[Ron32288]

https://youtu.be/Tc0U38iGaFw
It starts at 2:56. I feel like I have this in one of the many books I own but I need to know the name of it.

[Art75]

Suite Gothique by Léon Boëllmann: Priere a Notre Dame

[myorgan]

Suite Gothique by Léon Boëllmann: Priere a Notre Dame

Absolutely correct. I've been wanting to play that movement in performance, but haven't had the chance yet. Everyone either wants the 1^st movement for Halloween, or the 4^th movement for a showy performance (the Toccata with the melody in the pedals). Somehow the middle two movements seem to get left out.:'(

BTW, in viewing the video, I would consider adding vibrato/tremulant to whatever solo stop you use. It doesn't appear to be indicated in any of the versions I found on IMSLP (imslp.org), but IMHO the tremulant would be appropriate.

Michael

[cantor828]

+1 to the tremulant on the solo; fantastic when you get to the climax of the middle section!

[Peterboroughdiapason]

BTW, in viewing the video, I would consider adding vibrato/tremulant to whatever solo stop you use. It doesn't appear to be indicated in any of the versions I found on IMSLP (imslp.org), but IMHO the tremulant would be appropriate.

Michael

Personally I would strongly advise NOT using the tremulant or a solo stop. I think this piece, which I love, is already on the verge of being saccharine and any such registration would, for me, tip it over the edge into an abyss of cloying nausea!

Much better to use the composer's registration: Both hands on strings (i.e. sharp French ones). Failing suitable strings I would use strings and flute, or flute and diapason or string stop. Dynamics achieved by using the swell box only. For the middle section: both hands on Great flute coupled to the swell.

Here is a link to a performance: not sure what registration is used but it gives the right effect, I think. I'm sure the speed is right, though I don't play it so slowly. Nor do I make such a contrast in tempo for the middle section. Surprisingly there is a misprint in the pedal part 7 bars from the end. You can see the composer's registrations in the accompanying score.
https://www.youtube.com/watch?v=99XcIxbNyJI

By the way, Michael, I get the Halloween comment when I play the Toccata rather than the 1st movement.

[Havoc]

Played it so long ago, think it was before I understood how to play organ. Think it was a bit faster but the registration holds for me as well. Your remark is spot on, this is sooooo kitschy that adding a tremulant makes it a pastiche.

[myorgan]

Personally I would strongly advise NOT using the tremulant or a solo stop. I think this piece, which I love, is already on the verge of being saccharine and any such registration would, for me, tip it over the edge into an abyss of cloying nausea!

Rats, he's onto me!X-( On a serious note, while it is not indicated, wouldn't the French have ever done that? I'm thinking of Franck's Prélude, Fugue et Variation, Op.18 and the Hautbois 8' used in two of the movements. I seem to remember adding Tremulant in college. I'm going to have to go back to those ancient reel-to-reel recordings and see what I actually used. Hmmmm.

Much better to use the composer's registration: Both hands on strings (i.e. sharp French ones). Failing suitable strings I would use strings and flute, or flute and diapason or string stop. Dynamics achieved by using the swell box only. For the middle section: both hands on Great flute coupled to the swell.

I agree wholeheartedly. The French were always so particular with their registrations, so it is certainly better to stick with what is provided--if you have it. Alternately, I would consider using a Flute Celeste because it will cause that melody to come out above everything else without necessarily making it louder.

I'm sure the speed is right, though I don't play it so slowly. Nor do I make such a contrast in tempo for the middle section. Surprisingly there is a misprint in the pedal part 7 bars from the end. You can see the composer's registrations in the accompanying score.

That tempo is quite slow, however, when the performer comes to a rest, I noticed the reverb, and think I agree it is probably correct for the space in which it is played. If the A and A' portions of the piece were played slightly faster, the B section wouldn't stand out in tempo.

I'm not sure what you mean by a pedal mis-print in that version. The A^b belongs, as does the following C. Is the mis-print that the entire measure would be played on a C? The version that is being used is the one available on IMSLP, and to date, I've not found one with a different pedaling there. Edit: Until just now: http://imslp.org/wiki/Suite_Gothique...mann%2C_Léon). Kalmus has been known to have their fair share of mistakes. Now I'm wondering which is correct. I guess I'll preview (and erase) one of those that's not in public domain yet so I can check with an OEM version. In college I discovered Bach's BWV-541 G Major also has passages which are off in the Kalmus edition. I had to write them out by hand and paste them on top of the incorrect measures--what a pain! That's the price we pay for cheap music.:embarrassed:

By the way, Michael, I get the Halloween comment when I play the Toccata rather than the 1st movement.

I had forgotten about that. The last couple of years I've added the Toccata to the Introduction et Chorale when playing for Halloween. Thanks for reminding me.

Michael

- - - Updated - - -

...this is sooooo kitschy that adding a tremulant makes it a pastiche.

What language are you speaking?:o Must be German.

[regeron]

Surprisingly there is a misprint in the pedal part 7 bars from the end.
https://www.youtube.com/watch?v=99XcIxbNyJI

I have two different editions - Durand and Ashdown. Both of them have B-flat -- C in the measure in question. The YouTube score has A-flat -- C.

[andijah]

What language are you speaking?:o Must be German.

Oy! :P O:-)

[Peterboroughdiapason]

while it is not indicated, wouldn't the French have ever done that? I'm thinking of Franck's Prélude, Fugue et Variation, Op.18 and the Hautbois 8' used in two of the movements. I seem to remember adding Tremulant in college.

I wouldn't use the tremulant in Franck, Michael. I don't think French Romantic music calls for it. The solo in the Prelude, Fugue and Variation is for oboe PLUS BOURDON AND FLUTE.. I don't think that sound would be improved by a tremulant.

[myorgan]

I have two different editions - Durand and Ashdown. Both of them have B-flat -- C in the measure in question. The YouTube score has A-flat -- C.

Regeron,

Thank you. I don't have access to a good music library, so I'm stuck with my versions (mostly Kalmus) or those downloaded from IMSLP.

Michael

[davidecasteel]

Oy! :P O:-)

Yiddish? B-)