BELLEZA ABSOLUTA...MAGNIFICENCIA PLENA....Grandiosa versión de las Goldberg!!!!!APLAUSOS!!!! LAS VENGO ESCUCHANDO DESDE 1970....Y CADA VEZ ESCUCHO "ALGO NUEVO"!!!!!
Immensément heureux de te voir jouer les Goldberg à l'orgue Clicquot! Imagine toi qu'il y a un peu plus de 20 ans je les avais jouées sur le Clicquot de Poitiers et pas mal de collègues de l'époque m'avaient regardé… plutôt "de travers" pour rester sobre!....
I cannot thank you enough for sharing this exquisite rendition of Goldberg Variation. I love this work so much so that I thought I knew it very well, but there were numerous new ideas and inspirations throughout in every variation. I never knew Goldberg can go this well with the organ. What a joy to listen to this. Merci beaucoup!!!!!!!!!!!!
Bravo, Benjamin! As one that has been on this musical journey countless times, as both a performer and a listener, this was indeed a triumph! How anyone, referring to the comments below, could possibly describe this performance as a 'catastrophe' is beyond comprehension. I am absolutely sure that if Bach was looking down and heard your performance he would be well pleased indeed! Thank you for sharing your performance, it is well appreciated!
Merveilleux, on ne peut s'en lasser . Cette œuvre à l'orgue est une découverte pour moi qui tente de la jouer au piano , ce qui n'est pas si facile que cela semble . Quelle belle sonorité, et bon tempo .
L'orgue Clicquot de Souvigny est situé dans l'église du prieuré Saint-Pierre-et-Saint-Paul de Souvigny, petite commune de l'Allier. Il est particulièrement célèbre pour être un des trois instruments du grand facteur d'orgues François-Henri Clicquot qui soit conservé presque dans son état d'origine Les archives du prieuré ont été détruites en 1793, lors de la tourmente révolutionnaire. De ce fait, on ne connaît pas les circonstances de la construction de l'orgue par un des plus fameux facteurs de l'époque, François-Henri Clicquot, facteur d'orgues du roi, mais il fait partie d'une dynamique tangible du prieuré à la fin du XVIIIe siècle : sacristie baroque par Joseph Evezard (1772), antiphonaire (1779), et grand-orgue par Clicquot.
The performance is a joy. Just as fascinating for me are the shots of the ingenious mechanisms employed to create these sounds! Very special treasure of a video.
I once got a job at the Lutheran church, (as an organist; I'd never really had the chance to play a real organ before, but I played some Bach on it and then proved my familiarity with their liturgy, which is almost the same as Catholic, so the people hired me on the spot), but man, those Protestants like to wake up EARLY (I think they wanted to get home in time for Minnesota Vikings/GB Packers football, tbh)... I really liked those guys; I felt very comfortable with their style of worship/praise, but because I'm a boring old lapsed Catholic, and our own buddy Christ doesn't ask us to wake up that early, unless we want to, I had problems with punctual attendance; ... Myself and the Lutherans ended up parting ways very nicely; I just don't like getting up that early on a Sunday, and they just didn't like having their "orgelmeister" (lol) show up half-asleep/hungover, right?... Those Lutherans were actually really cool and laid-back, as far as Protestants go, and I loved their songs... Bach loved their songs too!
I have also played this work, attempting it on the piano, but it is not possible to play it properly on that single keyboard instrument without cheating a little. It is certainly interesting to hear an organ version of this unparalleled work. Since I also have a little organ experience, I am well aware that the faster variations cannot be played as fast on the organ vis-a-vis either the harpsichord or the piano. You will have to use mainly reed stops for any in a quick tempo and, even then, can't go too fast due to the echo-ey acoustics in a church building. But the race, in this case, doesn't always go to the swift. I still feel that the piece is best performed on a two manual harpsichord as J.S. Bach intended, the first recipient being the young, tubercular harpsichordist by the name of Goldberg. He served his aristocratic patron well and, although his life was short, did go on to produce some compositions of his own. I am confident that the prodigy would have performed the livlier variations more quickly than in this performance but he would not have been able to produce all the many variations of timbre of this one. Thank you so much, Benjamin!
Bonjour Benjamin. Merci infiniment pour cette magnifique et passionnante interprétation à l'orgue des variations Goldberg. J'ai une question sur la registration utilisée pour la variation 25: la voix supérieure très ciselée est elle un hautbois ? un cromorne ? la voix médiane un positif ? une flute de cheminée? et la basse ? de quel jeu s'agit il? Musicalement. Mille mercis encore JMP
Every variation begs for a different timbre/voice/"effekt"... This guy gets it, and his selection of the different registers/ranks is solid and well-planned, but... I would've chosen to use more contrasting voices between variations and more differently varied tempos, (less trumpet) but I don't have a pipe organ to play with, and I'm just a douchey amateur piano-guy; I don't even own a harpsichord, so who cares what i think? I'm jealous of this guy, truth be told... Shit in one hand and wish in the other, right? lol
Bravo! It must be nice to have two (or three, plus pedals) manuals... It's very difficult to express some of these variations on a piano... It's actually "very difficult" to perform all of this "correctly" on the piano; some of them fit well, and others just DON'T, in some places; sometimes its easier to cross the hands, and at other times it makes more sense to trade the voices between hands (var. 5, for example; no need to cross hands unless you're trying to look fancy) which has to do with fingering, for which Kappelmeister Bach left us none of his own instructions... It's more more fun and rewarding to learn and play than stupid modern video games, for sure!
Merci beaucoup pour votre enthousiasme et fidélité. J’ai réalisé cette transcription moi-même à partir de la partition original pour clavecin à deux claviers. Je n’ai pas tout écrit et ne connais pas d’édition existante de véritable transcription pour orgue. Cela dit, je ne peux que vous encourager à les jouer à l’orgue en expérimentant les riches possibilités de transcriptions comme la basse jouée à la pédale et la main gauche joué à l’octave supérieure pour les variations qui utilisent la main gauche comme accompagnement. Tous mes vœux musicaux, B.A.
It is both attractive (because something different) and extraordinarily strange and alienating to hear music that is specially tailored to the nature of the 'plucked instrument' with keys, the harpsichord, on a mechanically operated wind instrument, the organ. Moreover, a grand French Baroque organ with its enormous wealth of tongue registers - from pompous blowing (trompettes, clairon) to here comically screeching (Voix Humaine, Cromhorne) - sometimes places Bach's music in a very strange light. In other words: it's a funny and intriguing experiment. But please don't ever do this again. #Basta!
I disagree. Benjamin' Alard's rendition of the Goldbergs on the wonderful old Souvigny organ is such an adventurous, refreshing yet "musikgetreu" change.
BELLEZA ABSOLUTA...MAGNIFICENCIA PLENA....Grandiosa versión de las Goldberg!!!!!APLAUSOS!!!! LAS VENGO ESCUCHANDO DESDE 1970....Y CADA VEZ ESCUCHO "ALGO NUEVO"!!!!!
素晴らしい演奏をありがとうございました。
Un orgue en état de grâce, le sublime Clicquot de Souvigny, quellel merveilleuse re- découverte !! Merci Michel Chapuis Merci Henri Delorme
Immensément heureux de te voir jouer les Goldberg à l'orgue Clicquot! Imagine toi qu'il y a un peu plus de 20 ans je les avais jouées sur le Clicquot de Poitiers et pas mal de collègues de l'époque m'avaient regardé… plutôt "de travers" pour rester sobre!....
Merci Benjamin pour cette sublime interprétation. Sous tes doigts ces variations semblent avoir été écrites pour l'orgue !
I LOVE BACH!
Comme c'est beau une ouverture sur le ciel !
C'est superbe. Le DVD permet d'écouter et de voir ce magnifique concert sur grand écran télévisuel dans de belles conditions.
I cannot thank you enough for sharing this exquisite rendition of Goldberg Variation. I love this work so much so that I thought I knew it very well, but there were numerous new ideas and inspirations throughout in every variation. I never knew Goldberg can go this well with the organ. What a joy to listen to this. Merci beaucoup!!!!!!!!!!!!
Bravo, Benjamin! As one that has been on this musical journey countless times, as both a performer and a listener, this was indeed a triumph! How anyone, referring to the comments below, could possibly describe this performance as a 'catastrophe' is beyond comprehension. I am absolutely sure that if Bach was looking down and heard your performance he would be well pleased indeed! Thank you for sharing your performance, it is well appreciated!
Un retour à un Bach sensible, liturgique, qui fait oublier les interprétations fantaisistes comme Lang Lang au piano, pâle imitation de Gould .
"Liturgique" est le mot-clef de votre commentaire : JS Bach a composé, avant tout, pour le monde croyant et pratiquant. Ne jamais l'oublier !
Merveilleux, on ne peut s'en lasser . Cette œuvre à l'orgue est une découverte pour moi qui tente de la jouer au piano , ce qui n'est pas si facile que cela semble . Quelle belle sonorité, et bon tempo .
C'est un bonheur absolu, merci mille fois
Superbe. Comme toutes les interprétations par Benjamin. En finesse.
Grand moment ce concert!
L'orgue Clicquot de Souvigny est situé dans l'église du prieuré Saint-Pierre-et-Saint-Paul de Souvigny, petite commune de l'Allier. Il est particulièrement célèbre pour être un des trois instruments du grand facteur d'orgues François-Henri Clicquot qui soit conservé presque dans son état d'origine
Les archives du prieuré ont été détruites en 1793, lors de la tourmente révolutionnaire. De ce fait, on ne connaît pas les circonstances de la construction de l'orgue par un des plus fameux facteurs de l'époque, François-Henri Clicquot, facteur d'orgues du roi, mais il fait partie d'une dynamique tangible du prieuré à la fin du XVIIIe siècle : sacristie baroque par Joseph Evezard (1772), antiphonaire (1779), et grand-orgue par Clicquot.
The performance is a joy. Just as fascinating for me are the shots of the ingenious mechanisms employed to create these sounds! Very special treasure of a video.
Magnifique registration! Bravo et merci.
Magnifique ! Quel Art ! 🙏
Thank you so much for sharing. What a wonderful performance!
Beautiful performance. Amazing organ and pedals too!
I once got a job at the Lutheran church, (as an organist; I'd never really had the chance to play a real organ before, but I played some Bach on it and then proved my familiarity with their liturgy, which is almost the same as Catholic, so the people hired me on the spot), but man, those Protestants like to wake up EARLY (I think they wanted to get home in time for Minnesota Vikings/GB Packers football, tbh)... I really liked those guys; I felt very comfortable with their style of worship/praise, but because I'm a boring old lapsed Catholic, and our own buddy Christ doesn't ask us to wake up that early, unless we want to, I had problems with punctual attendance; ... Myself and the Lutherans ended up parting ways very nicely; I just don't like getting up that early on a Sunday, and they just didn't like having their "orgelmeister" (lol) show up half-asleep/hungover, right?... Those Lutherans were actually really cool and laid-back, as far as Protestants go, and I loved their songs... Bach loved their songs too!
I'm glad I'm using the same book as him... I can't be wrong all the time, right?
I have also played this work, attempting it on the piano, but it is not possible to play it properly on that single keyboard instrument without cheating a little. It is certainly interesting to hear an organ version of this unparalleled work. Since I also have a little organ experience, I am well aware that the faster variations cannot be played as fast on the organ vis-a-vis either the harpsichord or the piano. You will have to use mainly reed stops for any in a quick tempo and, even then, can't go too fast due to the echo-ey acoustics in a church building. But the race, in this case, doesn't always go to the swift.
I still feel that the piece is best performed on a two manual harpsichord as J.S. Bach intended, the first recipient being the young, tubercular harpsichordist by the name of Goldberg. He served his aristocratic patron well and, although his life was short, did go on to produce some compositions of his own. I am confident that the prodigy would have performed the livlier variations more quickly than in this performance but he would not have been able to produce all the many variations of timbre of this one. Thank you so much, Benjamin!
Genial
"One might say all he's doing is pressing different buttons. Well, you play it then!"
Indices:
V2 @6:40
V4 @9:25
V5 @10:50
best!
Bonjour Benjamin. Merci infiniment pour cette magnifique et passionnante interprétation à l'orgue des variations Goldberg. J'ai une question sur la registration utilisée pour la variation 25: la voix supérieure très ciselée est elle un hautbois ? un cromorne ? la voix médiane un positif ? une flute de cheminée? et la basse ? de quel jeu s'agit il? Musicalement. Mille mercis encore JMP
Wow, le Quodlibet.
I agree. The Quodlibet really 'works' here.
It gave me goosebumps. So magnificient🎉
Every variation begs for a different timbre/voice/"effekt"... This guy gets it, and his selection of the different registers/ranks is solid and well-planned, but... I would've chosen to use more contrasting voices between variations and more differently varied tempos, (less trumpet) but I don't have a pipe organ to play with, and I'm just a douchey amateur piano-guy; I don't even own a harpsichord, so who cares what i think? I'm jealous of this guy, truth be told... Shit in one hand and wish in the other, right? lol
Bravo! It must be nice to have two (or three, plus pedals) manuals... It's very difficult to express some of these variations on a piano... It's actually "very difficult" to perform all of this "correctly" on the piano; some of them fit well, and others just DON'T, in some places; sometimes its easier to cross the hands, and at other times it makes more sense to trade the voices between hands (var. 5, for example; no need to cross hands unless you're trying to look fancy) which has to do with fingering, for which Kappelmeister Bach left us none of his own instructions... It's more more fun and rewarding to learn and play than stupid modern video games, for sure!
Coisa linda. Alguma música melhor para ouvir do que Bach?
37:52 canon alla sixth🎉❤
Magnifique cela me donne envie de les jouer est-il possible d'obtenir votre transcription pour orgue, ou où la commander merci d'avance
Merci beaucoup pour votre enthousiasme et fidélité.
J’ai réalisé cette transcription moi-même à partir de la partition original pour clavecin à deux claviers. Je n’ai pas tout écrit et ne connais pas d’édition existante de véritable transcription pour orgue. Cela dit, je ne peux que vous encourager à les jouer à l’orgue en expérimentant les riches possibilités de transcriptions comme la basse jouée à la pédale et la main gauche joué à l’octave supérieure pour les variations qui utilisent la main gauche comme accompagnement.
Tous mes vœux musicaux, B.A.
45:03 alla breve❤🎉
Goodberg
💓👀👂👂👂👂👂
50:39 Var. 25
59:26 Var. 29
1:00:56 Var. 30 Quodlibet
It is both attractive (because something different) and extraordinarily strange and alienating to hear music that is specially tailored to the nature of the 'plucked instrument' with keys, the harpsichord, on a mechanically operated wind instrument, the organ. Moreover, a grand French Baroque organ with its enormous wealth of tongue registers - from pompous blowing (trompettes, clairon) to here comically screeching (Voix Humaine, Cromhorne) - sometimes places Bach's music in a very strange light. In other words: it's a funny and intriguing experiment. But please don't ever do this again. #Basta!
I disagree. Benjamin' Alard's rendition of the Goldbergs on the wonderful old Souvigny organ is such an adventurous, refreshing yet "musikgetreu" change.
Catastrophe.....🥵Bach a dû se retourner dans sa tombe.
Pourquoi?