André Marchal, combien de fois n'ai-je écouté un vieux disque de mes parents des années 50, où ton beau sourire rayonnait sur cette photo au dos de l'album ; tu m'as initié à l'orgue, certainement...Merci ANdré Marchal !
What a wonderful performance! So intelligent, clear and, above all, musical! The organ sounding at its best, and the recording, made nearly 60 years ago, is amazing! Thank you so much for this!
Here, the very rare reconciliation between sublime and beauty can be seen. It was almost 60 ago when I listened to his Franck's and I have been appreciating them until now. How deeply I have been influenced by his interpretations in my whole life! Comparing with Walch who was born blind, Marchal could see in his childhood and later lost the vision what makes his music unbelievably visual. What he saw is on the other side completely different from what Monet saw. What Marchal saw is Elysium and Pure land.
Comparing with Walcha who was born blind and charged by physical urgency Marchal who became blind when he was around 5 years old and having sense of vision through his whole life as strong memories his music is more visual and more colorful than any other musicians. I love his interpretations especially when he plays Franck.
Comaring with Walcha who was born blind charged by phisical urgency, Andre Marchal who could see until 5 years old plays more visual, more colorful than any other normal musicians. Born blind and became blind in one's childhood have a great difference, I think. I have been adorning him since more than 50 years especially when he plays Franck.
Unfortunately, this is the stoplist for the Van den Heuvel instrument, installed in 1989. The work began in 1986. This recording is definitely not that instrument. The recorded instrument was by Ducroquet, a successor to Daublaine et Callinet (contemporary of Cavaillé-Coll), around 1851. Unfortunately, I could not find a stoplist for this instrument. Je suis désolé, mon ami.
Not sure about being " sandwiched " between Vierne and Cochereau. He was never a titular at ND. Leonce de Saint-Martin was Vierne's. successor. (1937-1954)
George Murphy André Marchal, as many of his colleagues, served as a substitute organist at Notre-Dame, on call. For example, he played for the first official visit of Pope John Paul 2nd in Paris. As for Vierne, the maestro being quite often ill and away from Paris, he had to take care of his numerous momentary replacements. Dupré, Duruflé, Albert Alain, André Fleury (some of them being Vierne’s disciples), etc., played the mass at Notre-Dame. This was made in 1958, the exact year when Jeanne Demessieux recorded Franck at La Madeleine, on the then restored (by Roethinger-Boisseau) Cavaillé-Coll. St-Eustache not being an organ by CC, and Marchal using stops and colors that alter the character a little bit (to my poor taste), my first choice would be Demessieux. But, what a musician, here ! In fact both organists make their organ really “sing” beautifully, in a sensitive approach, and they get involved in their playing (they mean what they express) instead of being just obsessed by musicologists and that common self-centered need of display, show, demonstration, or whatever you may call it.
@@phebus2005 ... I suppose many of us have wondered for years about who played what, where, and when. I was on a tour there some 14 years ago (with Carolyn Schuester Fournier) and actually played instruments I never even thought I would get to see in real-time! I can see that you are well-informed here and you probably live in France - your name is quite familiar to me. I really appreciate this response and I shall forward it to several colleagues. Marchal came to Westminster Choir College in the mid-1970s where one of his former students taught in its then-massive organ department. At that time one of his "grandpupils" played the opening movement of the Vierne Sixth Symphonie, which brought Marchal to his feet. There were twin brothers in the Class of 1977 who were both blind and eventually went to study with him. My most memorable recording of his was the one he did (all French) at Syracuse University in the early 1960s - sterling! I also just pulled out an additional performance from 1981 to commemorate his death in 1980. It is a special SOLSTICE LP compiling his performances over the years, including 1954 at Royal Festival Hall. One interesting improvisation he did at N.-D. for his 80th Anniversaire may have been the inspiration for a work composed by Simon Preston later on: "Fantasia-The Christmas Light." Thank you for your response!!!! Blessings.
Sorry, but you have no sense of sublime, destiny, hopelesness:Vierne is a mere hedonist, Cochereau plays only viscerally. You need not feel sorry. I'm sorry that you cannot appreciate the titanic organist.
André Marchal, combien de fois n'ai-je écouté un vieux disque de mes parents des années 50, où ton beau sourire rayonnait sur cette photo au dos de l'album ; tu m'as initié à l'orgue, certainement...Merci ANdré Marchal !
Première véritable "symphonie" écrite pour l'orgue, interprétée par un "monstre" musical.. Merci, Monsieur André Marchal !
André Marchal (1894-1980) was an extraordinary artist ! Blind from birth, he was also an organ teacher and a famous improviser !
Mon interprétation préférée de cette oeuvre. Je l'ai écoutée de nombreuses fois en disque. Merci de la faire partager !
le plus grand…Mercie mercie beacoup….. de toute coeur!!!!
What a wonderful performance! So intelligent, clear and, above all, musical! The organ sounding at its best, and the recording, made nearly 60 years ago, is amazing! Thank you so much for this!
Love those 32's! Thrilling on a good sound system! :)
je vous'en prie,,,, mercies
Beautiful playing.
Un interprète inspiré et la magie opère. Franck / Marchal et St Eustache.
Thanks so much for this great upload !
Here, the very rare reconciliation between sublime and beauty can be seen. It was almost 60 ago when I listened to his Franck's and I have been appreciating them until now. How deeply I have been influenced by his interpretations in my whole life! Comparing with Walch who was born blind, Marchal could see in his childhood and later lost the vision what makes his music unbelievably visual. What he saw is on the other side completely different from what Monet saw. What Marchal saw is Elysium and Pure land.
Comparing with Walcha who was born blind and charged by physical urgency Marchal who became blind when he was around 5 years old and having sense of vision through his whole life as strong memories his music is more visual and more colorful than any other musicians. I love his interpretations especially when he plays Franck.
Cet enregistrement de 1958 a été effectué avant le nouvel orgue dont la composition figure dans ce site.
Comaring with Walcha who was born blind charged by phisical urgency, Andre Marchal who could see until 5 years old plays more visual, more colorful than any other normal musicians. Born blind and became blind in one's childhood have a great difference, I think. I have been adorning him since more than 50 years especially when he plays Franck.
❤️👏
@BySharpandFlame: this was the stoplist prior to the rebuild by van den Heuvel:
Grand Orgue: Quintaton 16', Montre 16', Montre 8', Bourdon 8', Gemshorn 8', Flûte Harmonique 8', Flûte à Pavillon 8', Quinte 5 1/3', Prestant 4', Flûte à Cheminée 4', Diapason 4', Tierce 3 1/5', Quinte 2 2/3', Doublette 2', Grand Cornet 5 rangs, Fourniture 4 à 6 rangs, Bombarde 16', Trompette 8', Clairon 4'.
Unfortunately, this is the stoplist for the Van den Heuvel instrument, installed in 1989. The work began in 1986. This recording is definitely not that instrument. The recorded instrument was by Ducroquet, a successor to Daublaine et Callinet (contemporary of Cavaillé-Coll), around 1851. Unfortunately, I could not find a stoplist for this instrument. Je suis désolé, mon ami.
Perhaps this link to the St.Eustache organ might help:
www.organsparisaz4.vhhil.nl/St%20Eustache.htm
@BySharpandFlame
Récit Expressif: Flûte à Cheminée 16', Bourdon 8', Principal 8', Flûte Harmonique 8', Gambe 8', Voix Céleste 8', Prestant 4', Flûte Octaviante 4', Nazard 2 2/3', Flageolet 2', Cornet 5 rangs, Plein-Jeu 3 à 4 rangs, Cymbale 3 rangs, Bombarde 16', Trompette 8', Hautbois 8', Voix Humaine 8', Clairon 4'.
@BySharpandFlame
Solo: Principal 8', Salicional 8', Unda Maris 8', Bourdon à Cheminée 8', Flûte à Fuseau 4', Quinte 2 2/3', Principal 2', Larigot 1 1/3', Fourniture 4 rangs, Cymbale 3 rangs, Ranquette 16', Régule 8', Petite Trompette 8', Chalumeau 4'.
@BySharpandFlame
Grand Choeur: Bourdon 16', Gambe 16', Diapason 8', Violoncelle 8', Flûte Majeure 8', Principal 4', Octave 2', Cornet 5 rangs, Plein-Jeu 4 rangs, Cymbale 4 rangs, Bombarde (Chamade) 16', Trompette (Chamade) 8', Clairon (Chamade) 4', Cor de Basset 8'.
Positif: Montre 8', Flûte 8', Bourdon 8', Prestant 4', Flûte 4', Quintaton 4', Nazard 2 2/3', Doublette 2', Tierce 1 3/5', Larigot 1 1/3', Septième 1 1/7', Piccolo 1', Plein-Jeu 3 à 4 rangs, Cromorne 8', Trompette 8', Clairon 4'.
Not sure about being
" sandwiched " between Vierne and Cochereau. He was never a titular at ND. Leonce de Saint-Martin was Vierne's. successor. (1937-1954)
George Murphy André Marchal, as many of his colleagues, served as a substitute organist at Notre-Dame, on call. For example, he played for the first official visit of Pope John Paul 2nd in Paris.
As for Vierne, the maestro being quite often ill and away from Paris, he had to take care of his numerous momentary replacements. Dupré, Duruflé, Albert Alain, André Fleury (some of them being Vierne’s disciples), etc., played the mass at Notre-Dame.
This was made in 1958, the exact year when Jeanne Demessieux recorded Franck at La Madeleine, on the then restored (by Roethinger-Boisseau) Cavaillé-Coll.
St-Eustache not being an organ by CC, and Marchal using stops and colors that alter the character a little bit (to my poor taste), my first choice would be Demessieux. But, what a musician, here ! In fact both organists make their organ really “sing” beautifully, in a sensitive approach, and they get involved in their playing (they mean what they express) instead of being just obsessed by musicologists and that common self-centered need of display, show, demonstration, or whatever you may call it.
@@phebus2005 ... I suppose many of us have wondered for years about who played what, where, and when.
I was on a tour there some 14 years ago (with Carolyn Schuester Fournier) and actually played instruments I never even thought I would get to see in real-time!
I can see that you are well-informed here and you probably live in France - your name is quite familiar to me.
I really appreciate this response and I shall forward it to several colleagues. Marchal came to Westminster Choir College in the mid-1970s where one of his former students taught in its then-massive organ department. At that time one of his "grandpupils"
played the opening movement of the Vierne Sixth Symphonie, which brought Marchal to his feet. There were twin brothers in the Class of 1977 who were both blind and eventually went to study with him. My most memorable recording of his was the one he did (all French) at Syracuse University in the early 1960s - sterling! I also just pulled out an additional performance from 1981 to commemorate his death in 1980. It is a special SOLSTICE LP compiling his performances over the years, including 1954 at Royal Festival Hall. One interesting improvisation he did at N.-D. for his 80th Anniversaire may have been the inspiration for a work composed by Simon Preston later on: "Fantasia-The Christmas Light." Thank you for your response!!!! Blessings.
The Stoplist, Back to the Future?
Poor Marchal - I always felt sorry for him - sandwiched between Vierne and Cochereau...
Why? All 3 were great.
Sorry, but you have no sense of sublime, destiny, hopelesness:Vierne is a mere hedonist, Cochereau plays only viscerally. You need not feel sorry. I'm sorry that you cannot appreciate the titanic organist.
...nous avons Mario del Monaco….