Liszt: "Ad Nos", Christian Schmitt / Stavanger Symphony Orchestra
HTML-код
- Опубликовано: 22 ноя 2024
- Live from ORGELKRAFT festival, April 1, 2016. Franz Liszt: Variations on "Ad nos, ad salutarem undam"
adapted for organ and orchestra by Marcel Dupré
Christian Schmitt, organ - Stavanger Symphony Orchestra -
Rossen Gergov, conductor.
Outstanding Masterpiece! Perhaps the greatest piece for organ ever created. Thank you Liszt... and to Marcel for the orchestration, and all the players in the moving performance.
Magnificent -- brilliant -- thrilling! And the kind of creativity that's desperately needed today in organ repertoire.
Una versione meravigliosa, un capolavoro di trascrizione illuminata dall'energia ispiratissima dei maestri. Bravi!
Never heard this for ORGAN and ORCHESTRA...GREAT sound....Orchestra and organist are marvellous.....
It definitely is
Wow! This wonderful arrangement brings new light to this epic music!
Schmitt also recorded this arrangement for CPO. I think it is marvellous because Dupré treats the Orchestra as further registers of the Organ.
Thank you very much for posting such a fine work and featuring these impressive musicians. Also learned of a new city in Norway!
Je découvre cette interprétation merveilleuse jouée à la fois à l'orgue et à l'orchestre ...
Was für ein gewaltiges, spannendes Werk 😌 😍
Belle interprétation à l'orgue et à l'orchestre de cette œuvre écrite initialement pour orgue !
Thanks so much for posting this. I've just learned of this work through the CD with Christian Schmitt as soloist, and it's great to see this recording of a live performance now. It's fascinating to me that the work sounds like both Liszt and Dupré. And thanks for programming unusual repertory like this!
a great arrangement!
applaus for this nice music
You can see the intensity of the musicians in their facial expressions of this piece. The audience responds in kind,
What audience?
Don't forget about the completely confused musician at 6:16
Bravissimo!!!
Fantastic piece of music and flawless performance, but the organist has a striking resemblance to Karl Lauterbach, the German Secretary of Health... :D
THIS is fun...!!!!
Yes, you are right, it's very fun and parody-like: to make an organ-concerto from a solo organ work. Such way we can orchestrate Bach violin solo sonata for violin-concerto (with symphonic orchestra). Not a good idea. That's all right if somebody make an orchestrate from the Ad nos ONLY for symphonic orchestra without organ, but such way the organ had been castrated.
You seem to have no idea who Marcel Dupré was, because your comment sounds as if you doubt that he knew what he was doing.
Dupré is the third of the three great french Organist/Composers Widor and Vierne.
He knew very much what he was doing here, and why he did it. His goal was not to write an organ-concerto but to treat the voices of the orchestra as added registrations of the organ.
So this is basically still a work for one instrument. And it works brilliantly.
I LOVE this version....
Me too. The only weak moment is the pedal cadenza in the transition to the fugue. I understand that Dupré was hesitant to take that away from the organ, but the balance is so off that he should have really given the pedal notes to the orchestra.
I know, who was Dupre…I have MA degree in composition and organ.
It seems a splendid and unique idea to treat the orchestra as an added registration of the organ, but the original „problem” remains: this work became an organ concerto in its form.
It’s very easy to prove: Imagine the following, we had gone to Dupre and we had ordered two orchestration from Ad Nos: an organ concerto and an orchestration with "added registrations" by symphonic orchestra. What do you think the difference would be between the two? I can assure you, not too much. Only the title is different.
We can call a piano concerto: added registrations of the piano, however, it remains a piano concerto.
The main inssue about the orchestration of Ad Nos is that on one hand, the organist is deprived of the technical challenges of the work since the orchestra takes over much of his tasks, on the other hand he cannot express his artistic self in the individual interpretations.
It is more fortunate the other way around: to play an organ concerto without symphonic orchestra. A good example to the latter is Guilmant Organ Sonata no.1 Op 42, which is an Organ Symphony no.1 Op 42 at the same time. This symphony is played as an organ solo as well.
If Ad Nos had been originally orchestrated in the form of an organ-symphonic orchestra, there wouldn’t be any problem with it: it would then be an easily playable organ concerto. But whoever has played Ad Nos in original, would not be so much willing to give up the joy of playing like this for a simplified organ part.
Just imagine a violonist who is asked to play Bach: g-moll solo sonata without chords, just the melody, the chords will be added by the orchestra. He wouldn’t be happy to play it. The violinist would like to cope also with the chords because that is a challenge and he would not like to give it over to the orchestra.
I think criticism may be articulated of the gratest ones. Dupre is an excellent composer (I have also played several of his pieces) but greater ones than him have been ciritcised: newspapers of his age criticised Ravel; the premier of Sacre by Stravinsky was the biggest theater scandal. Each single concert, musician, composer, performance is scrutinized by music critics: appreciated and criticised. Most probably opinions are split in any musical journal of the orchestration of Ad Nos, mine is one of the many. Nevertheless your comment of „...He knew very much what he was doing here, and why he did it...” is not a professional argument.
Earlier I arranged Funerailles by Liszt for symphonic orchestra, it did really sound well. But it wouldn’t have been a good idea to make it a piano-orchestra.
What would be the reaction if I said Beethoven˙s Symphony no. 9. is not well orchestrated and I made a transcipt of it. Almost everyone would say: what a heresy, how do I dare to touch a Beethoven. What an arrogance. BUT : Mahler did it once, as a young man. He said that Beethoven symphony no. 9. hadn’t been good enough in orchestration and he had it overtranscripted. Back then he was not yet famous. However, taking the courage to do something like that is still an outrage as he conducted Fidelio many times - which was a failure in its own time - in the Opera house in Vienna.
So, Dupre is not considered a great composer because he orchestrated Ad Nos, but thanks to Preludium and fuges, Noel variations, Passion Symphony, Cortege et litanie etc. However, Dupre is a concert organist first and a composer second. Organists know him well, but he is not a top-notch composer. Rarely has he written any symphonic work. Nevertheless, it is fine, no musician can give concerts all the time and be a composer. Both activities require one hundred percent of commitment.
Dupré sometimes does very wrong things.....The original version intended for solo organ written by the Master shows all what we need: The piano on the organ-the orchestra in the organ .... and the ORGAN.-
And what is the problem to listen it in another way?
You are right. Anyone who has played the original solo piece is reluctant to play a simplified version. It’s like giving the chords from a violin solo sonata to the orchestra and the violinist just playing the melody. Which violinist would like to play Bach's solo sonata in this way?
@@mrcontrapunct1562 It's not about simplifying this. It is about giving the Organ more colours by pretending that the Orchestra is kind of another manual with its own registration.
Is possible to get the score?
I feel as if the sped up ending really ruins the conclusion of this piece
Poor Liszt !!!
Orchestra out of tune with the organ pitch...
Waanzinnig! Bravo!!