When she stops with playing, there is peace and silence in my room, like the silence after real praying. Thank you Agnieszka, its moving the heart, you give us a fine piece of art.
Viewed 6-16-22 from USA Hello Agnieszka, Your performance was 9 years ago !!! WOW not only are you attractive and you play with such fluid of motion and grace..............Bye :)))
I like so much the way she "gives a meaning" to the music she's playing. I have always considered the interpretation of Simon Bertram at the organ of St. Giles cathedral in Edinburgh the reference recording, but I confess that this one seduces me a bit more. So deep... So emotional, and at the same time logic and controlled. Moreover the lines before the ending section, where the harmony becomes thicker (sorry I don't have here the score, so I can't indicate the point) sound simple, but they are in fact infernal to be played flawlessly, and she does it. A fine piece of art indeed. Thank you!
Mit so viel technischer Souveränität und einem Höchstmaß an Ruhe und Empathie die "Priere" zu vernehmen, ist ganz, ganz wunderbar. Der elegische, introvertierte Charakter dieses Werkes, seine eindrucksvolle Geschlossenheit kommen auf das vollendetste zum Vorschein. Chapeau für diese künstlerische Leistung! Eckehard Lüdke
Très rare qu'une oeuvre de Cesar Franck rende aussi bien sur un orgue de facture germanique, un beau tempérament romantique en fermant les yeux on pourrait croire à un Cavaillé...
Very fine performance; thumbs up for sure! Perhaps this was mentioned by someone in the non-English comments, so apologies if I'm late to the game. Did anybody else notice that Ms. Tarnawska was very busy on the pedalboard at the beginning of the recording, despite the fact that there are no pedal notes until measure 32, or 1:48 into her recording? I get that reworking textures to pedal notes is sometimes done, such as the E. Power Biggs edition of Brahms Chorale Preludes, Op. 122. For me, it's more problematic here because Franck really knew how to write for the organ. Why would you second guess him?
It's not second-guessing, she is simply playing the lowest l.h. voice coupled down to the pedal to render the opening passage playable/legato for someone with smaller hands. (Franck had large hands, and his writing often requires the reach of a tenth.) Since the pedal is not otherwise being used here, it is perfectly acceptable to make this compensation.
At 9:59 (and a half) you should play the higher F note on the first time of the measure. Franck did not write it because, if you look for information on the organ he was playing, at that time in Sainte Clotilde there was only 54 keys on the manuals. If you analyse this theme in previous parts of this piece, this note is missing otherwise. If you listen to Vincent Dubois' record on RUclips of this piece, he plays it ;) Good playing anyway! But maybe enjoy spending some time looking for the way the themes are all made of different parts of the first one, how he modify them in rythm, in minor/major, how they are enlarged or thightened, who he gives little keys that "bells" you what will happen next. How funny the theme "alone" is presented later in the piece, and with full harmony at begining, while the use before romantic period was to first present the theme alone then develop it...
Się zachwycam. Franck w Pani wykonaniu to perełka :)
When she stops with playing, there is peace and silence in my room, like the silence after real praying. Thank you Agnieszka, its moving the heart, you give us a fine piece of art.
Viewed 6-16-22 from USA Hello Agnieszka, Your performance was 9 years ago !!! WOW not only are you attractive and you play with such fluid of motion and grace..............Bye :)))
Magnificent playing with an excellent feeling for timing and musical lines. Thank you.
Deep understanding of Cesar Franck´s "Priere", Agnieszka has moved me deeply by her virtuouse interpretation of this master piece
Voll innerer Ruhe - souverän - expressiv - wunderbarer Agogik - ganz erlesen: Chapeau!
Eckehard Lüdke, Kevelaer (Ndrh)
I like so much the way she "gives a meaning" to the music she's playing. I have always considered the interpretation of Simon Bertram at the organ of St. Giles cathedral in Edinburgh the reference recording, but I confess that this one seduces me a bit more. So deep... So emotional, and at the same time logic and controlled. Moreover the lines before the ending section, where the harmony becomes thicker (sorry I don't have here the score, so I can't indicate the point) sound simple, but they are in fact infernal to be played flawlessly, and she does it. A fine piece of art indeed. Thank you!
Mit so viel technischer Souveränität und einem Höchstmaß an Ruhe und Empathie die "Priere" zu vernehmen, ist ganz, ganz wunderbar.
Der elegische, introvertierte Charakter dieses Werkes, seine eindrucksvolle Geschlossenheit kommen auf das vollendetste zum Vorschein.
Chapeau für diese künstlerische Leistung!
Eckehard Lüdke
Ah ! César Franck. J'aime tellement, et c'est ici si bien interprété avec cette dimension si particulière qui nous emporte... merci !
It is a pity that didn't hear earlier. Perfectly. Thank you very much. Paul Akhanov
Très rare qu'une oeuvre de Cesar Franck rende aussi bien sur un orgue de facture germanique, un beau tempérament romantique en fermant les yeux on pourrait croire à un Cavaillé...
Wonderful! I love Franck!
this is how organ music should sound, no computer can ever imitate this
Aha! This really is a video of a very well played piece of music. I particularly appreciated the fluent playing. Congratulations.
Just wonderful thank you lots
Ich gratuliere zu dieser einfühlsamen und stimmigen Interpretation!
eine Göttin an der Königin der Instrumente - zauberhaft !
Very beautifully paced. I love it. Brava.
Sehr schöne Interpretation. Ganz ruhig gespielt und gut durchgeführt. Klasse...... Dankeschön dafür
Gracias... Esta interpretación es un viaje al Cielo
Beautiful!!!!
Noble ! Merci !
So graceful melody, I prefer to listen the harmonic change in this piece.
NICE MUSIC, NICE INTERPRETATION.
Fine performance of one of my Franck faves.
kapariz44 schitterend
,heel mooi.
Very fine performance; thumbs up for sure! Perhaps this was mentioned by someone in the non-English comments, so apologies if I'm late to the game. Did anybody else notice that Ms. Tarnawska was very busy on the pedalboard at the beginning of the recording, despite the fact that there are no pedal notes until measure 32, or 1:48 into her recording? I get that reworking textures to pedal notes is sometimes done, such as the E. Power Biggs edition of Brahms Chorale Preludes, Op. 122. For me, it's more problematic here because Franck really knew how to write for the organ. Why would you second guess him?
It's not second-guessing, she is simply playing the lowest l.h. voice coupled down to the pedal to render the opening passage playable/legato for someone with smaller hands. (Franck had large hands, and his writing often requires the reach of a tenth.) Since the pedal is not otherwise being used here, it is perfectly acceptable to make this compensation.
The day you will decide to record also the Grand pièce symphonique, I'll be the happiest man in the world!
Bei dem Stück wird die Ewigkeit hörbar. Es erhebt den Hörer in eine höhere Transzendenz.
Schöner kann man es kaum sagen.
Danke Agnieszka für diese Inspiration im César-Franck-Jahr! Das wird nach dem a-moll Choral meine nächste Aufgabe.
was sind dies für Leute, die hier ein dislike geben?
At 9:59 (and a half) you should play the higher F note on the first time of the measure. Franck did not write it because, if you look for information on the organ he was playing, at that time in Sainte Clotilde there was only 54 keys on the manuals.
If you analyse this theme in previous parts of this piece, this note is missing otherwise.
If you listen to Vincent Dubois' record on RUclips of this piece, he plays it ;)
Good playing anyway! But maybe enjoy spending some time looking for the way the themes are all made of different parts of the first one, how he modify them in rythm, in minor/major, how they are enlarged or thightened, who he gives little keys that "bells" you what will happen next. How funny the theme "alone" is presented later in the piece, and with full harmony at begining, while the use before romantic period was to first present the theme alone then develop it...
In roerige tijden als balsem voor de ziel, een oceaan van rust.
Agnieszka. Nagyon érzékien játszol. A Jakobi templom orgonájából mutathatnál egy kicsit többet. Szépen szól a kezeid alatt. (hungary)
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