I love Diana's playing: exciting, rhythmical, sensitive phrasing and gloriously musical. Actually, I agree that the Chamades require some attention (probably re- voicing or melting down) but somehow they manage to add a splash of acceptable dissonance to the final bars. Being a fan of Metzler, I'm suprised they were happy to let Diana play on such a prestigous instrument without giving it a more through going over beforehand. Perhaps the church was having financial problems??
Considering that the poor organ sounded quite neglected, I salute Ms.Bish for not falling to pieces when those horrid en chamade trumpets made their rude entrance! She kept her dignity and decorum nicely in tact. I would have freaked out and fled high up into the alps! >.
Ahhhh yes. Upon listening again carefully, I can tell that the entire organ seems to go out of tune! I'm wondering how often this happens on larger cathedral organs. I've played numerous organs that were around 25 - 40 stops, and they seemed to handle full ranks. I've also played the new organ at the Anglican Cathedral in Vancouver, and it certainly can take all stops engaged also. Perhaps very large instruments have this issue, I'm thinking....
This has been a most enlightening chat session - thanks for all the info. I've been an organist for quite a number of years now, and always wondered about these things, and never really got any clear explanations until now. These instruments are wonderful, amazing, interesting, fascinating, and at times frightening, horrifying, intimidating and even a bit irritating and annoying. XD Yet I do love them so, and playing these marvels has to be my single most passion in life! I find it extremely fulfilling to learn and understand about all their personalities and special little quirks. LOL! I recall now, waaaay back in my early organist career at a big old stone church in downtown Johannesburg. The organ there was a great old English organ build by Norman & Beard in 1901 (before it became Hill, Norman & Beard). It was tubular pneumatic (ouchies!), and on rare occasions notes here and there would get stuck and drone away like an irritating bagpipe while I tried to play hymns! I'd break out in a cold sweat, for certain. But oh! How I LOVED that old organ. It could produce rich tones that would send chills up and down the spine. To this day, I haven't played an instrument that comes remotely close to that grand old lady! How I LOVE being an organist! :D
Thank you Mrs Bisch, it is always a pleasure to listen to you !
Yet another outstanding performance by the phenomenal Diane Bish on this beautiful organ in Geneva. Thank you, thank you!!
Excellent Glory to God his her Kingdom will come.
Very nice.
I love Diana's playing: exciting, rhythmical, sensitive phrasing and gloriously musical. Actually, I agree that the Chamades require some attention (probably re- voicing or melting down) but somehow they manage to add a splash of acceptable dissonance to the final bars. Being a fan of Metzler, I'm suprised they were happy to let Diana play on such a prestigous instrument without giving it a more through going over beforehand. Perhaps the church was having financial problems??
Considering that the poor organ sounded quite neglected, I salute Ms.Bish for not falling to pieces when those horrid en chamade trumpets made their rude entrance! She kept her dignity and decorum nicely in tact. I would have freaked out and fled high up into the alps! >.
Ahhhh yes. Upon listening again carefully, I can tell that the entire organ seems to go out of tune! I'm wondering how often this happens on larger cathedral organs. I've played numerous organs that were around 25 - 40 stops, and they seemed to handle full ranks. I've also played the new organ at the Anglican Cathedral in Vancouver, and it certainly can take all stops engaged also. Perhaps very large instruments have this issue, I'm thinking....
This has been a most enlightening chat session - thanks for all the info. I've been an organist for quite a number of years now, and always wondered about these things, and never really got any clear explanations until now. These instruments are wonderful, amazing, interesting, fascinating, and at times frightening, horrifying, intimidating and even a bit irritating and annoying. XD
Yet I do love them so, and playing these marvels has to be my single most passion in life! I find it extremely fulfilling to learn and understand about all their personalities and special little quirks. LOL!
I recall now, waaaay back in my early organist career at a big old stone church in downtown Johannesburg. The organ there was a great old English organ build by Norman & Beard in 1901 (before it became Hill, Norman & Beard). It was tubular pneumatic (ouchies!), and on rare occasions notes here and there would get stuck and drone away like an irritating bagpipe while I tried to play hymns! I'd break out in a cold sweat, for certain. But oh! How I LOVED that old organ. It could produce rich tones that would send chills up and down the spine. To this day, I haven't played an instrument that comes remotely close to that grand old lady!
How I LOVE being an organist! :D
It's ok. You can always make use of the slider to skip that part.
those reeds at the end sound terrible at the end.
@samc726 All reeds are terrible out of tune, but indeed the chamades a bit more.
But great playing..
I like the nino rota version from the Godfather better... this makes me wanna leave Sunday service
It's a shame that people would want to melt a beautiful organ to make these damn utensils for eating..??