L Vierne à l'honneur sur ce très beau Cavaillé-Coll; P Labric joue avec la sensibilité qu'on lui connait magnifiquement. Merci de ce très grand moment d'orgue. :)
Awful performance . Totally butchered. This was the reason I rejected Labric's LP box sets of Vierne and Widor when they first appeared. I still remember my disappointment all these years later. However I am also amazed that he has just turned 103 yrs of age.
This is played WAY, WAY too fast and just sounds like a big muddle. The distinct themes within the piece are almost indistinguishable. There's no ritardando going into the final few notes at all so the great ending has zero impact. For those who want to see how this piece should be played see Johann Vexo's RUclips rendition of this piece. Sorry ... this is just bad.
John, I don't know where or how you formed your tastes but, on the evidence, it was not in the live presence of these instruments, in these spaces with these works, and not within the living tradition in its country of origin. Instead of taking issue, consider that Labric is almost uniquely poised to show you the genuine nature of the work, and think about revising what it is you've admired until now.
feuillet Well, Feuillet, I went back and "reality checked" myself and listened to Vexo, Houlihan, and others playing the work. It merely verified my intuitive sense since their Symphony 2 Allegro's were close to 8 minutes. Labric rushes through many slow passages intended to be sentimental or stately. Sorry, I cannot agree with you. I can only repeat that the lack of ritardando going into the impactful last notes makes them MUCH less impactful. I did see Houlihan play this LIVE.
John Perry Well do bear in mind this track is an excerpt taken where Labric is performing the complete symphony - in this case then it's not a free-standing recital piece but the opening statement of a much larger work. What I think I enjoy most is his complete escape from treating it with deep seriousness; his life overlaps Vierne's considerably - the two were acquainted - and he clearly views the man as a gifted contemporary and not such an object of veneration as you or I might. These are just the sort of works Labric studied and wrote at conservatory, and they are precisely the compositional challenges of contemporary improvisations. Labric (and Vierne) were brilliant improvisers. You can hear the connection in this track if you're listening for it. Much as I admire Vexo (both your examples are fine musicians) I might say he loves the work too much to play it. No one can possibly object to your having preferences. What prompted me to comment was your certitude and your willingness to stand in judgment, which is a very different thing.
feuillet Oh, but Mr. Feuillet, my "preferences" have to do with the way it is written in the SCORE. That is something I have obtained, reviewed, and played. Messrs. Vexo and Houlihan are more reverent to that score. I don't consider it "veneration" to play the music as written. It's simple respect. I have no objection to using a piece as an improvisational starting point but it is also not "improvisation" to simply butcher the timing as written in the original. Improvisation involves the creation of new themes using a piece as a launching point. So, if this is neither improvisation or respect, what is it?
Eleuthero5 Labric is not improvising, he plays here in the style of an improvisation which is perfectly appropriate to the work. The others' reverence is not finer than Labric's free style. There are more things in heaven and earth than are dreamt of in your philosophy.
L Vierne à l'honneur sur ce très beau Cavaillé-Coll; P Labric joue avec la sensibilité qu'on lui connait magnifiquement. Merci de ce très grand moment d'orgue. :)
GREAT organist... GREAT organ... which needs to be tuned...!
St Sernin is very difficult to tune... Toulouse can be a very hot city in summer and sometimes this organ is detuned...
@@MrDomi77 ALL the French organs are
"difficult" to tune... still... what an instrument...!!!!!
Awful performance . Totally butchered. This was the reason I rejected Labric's LP box sets of Vierne and Widor when they first appeared. I still remember my disappointment all these years later. However I am also amazed that he has just turned 103 yrs of age.
This is played WAY, WAY too fast and just sounds like a big muddle. The distinct themes within the piece are almost indistinguishable. There's no ritardando going into the final few notes at all so the great ending has zero impact. For those who want to see how this piece should be played see Johann Vexo's RUclips rendition of this piece. Sorry ... this is just bad.
John, I don't know where or how you formed your tastes but, on the evidence, it was not in the live presence of these instruments, in these spaces with these works, and not within the living tradition in its country of origin.
Instead of taking issue, consider that Labric is almost uniquely poised to show you the genuine nature of the work, and think about revising what it is you've admired until now.
feuillet Well, Feuillet, I went back and "reality checked" myself and listened to Vexo, Houlihan, and others playing the work. It merely verified my intuitive sense since their Symphony 2 Allegro's were close to 8 minutes. Labric rushes through many slow passages intended to be sentimental or stately. Sorry, I cannot agree with you. I can only repeat that the lack of ritardando going into the impactful last notes makes them MUCH less impactful. I did see Houlihan play this LIVE.
John Perry Well do bear in mind this track is an excerpt taken where Labric is performing the complete symphony - in this case then it's not a free-standing recital piece but the opening statement of a much larger work. What I think I enjoy most is his complete escape from treating it with deep seriousness; his life overlaps Vierne's considerably - the two were acquainted - and he clearly views the man as a gifted contemporary and not such an object of veneration as you or I might. These are just the sort of works Labric studied and wrote at conservatory, and they are precisely the compositional challenges of contemporary improvisations. Labric (and Vierne) were brilliant improvisers. You can hear the connection in this track if you're listening for it. Much as I admire Vexo (both your examples are fine musicians) I might say he loves the work too much to play it.
No one can possibly object to your having preferences. What prompted me to comment was your certitude and your willingness to stand in judgment, which is a very different thing.
feuillet Oh, but Mr. Feuillet, my "preferences" have to do with the way it is written in the SCORE. That is something I have obtained, reviewed, and played. Messrs. Vexo and Houlihan are more reverent to that score. I don't consider it "veneration" to play the music as written. It's simple respect. I have no objection to using a piece as an improvisational starting point but it is also not "improvisation" to simply butcher the timing as written in the original. Improvisation involves the creation of new themes using a piece as a launching point. So, if this is neither improvisation or respect, what is it?
Eleuthero5 Labric is not improvising, he plays here in the style of an improvisation which is perfectly appropriate to the work. The others' reverence is not finer than Labric's free style.
There are more things in heaven and earth than are dreamt of in your philosophy.