Merci à toi ,Jean-Claude de m'avoir offert cet album de Pierre Labric (le meilleur pour Vierne) quand j'avais 15 ans ! J'en ai 67 et je le redécouvre à chaque écoute sur cet excellent média - Puisses-tu me lire de là-haut ...R-I-P mon oncle.
And to think that Labric just turned 101. Let that sink in. In the context of history and 'organ schools' he's the last living of the previous French Organ School. His pedigree is absolutely astonishing! And what a player!
These recordings are from a collection put out by the MHS of all Six of Vierne's - and of Widor's Ten Symphonies. Labric was another Dupre Star Player - he was probably late 40s or early 50s at the time.
He was just that - another wiz child of the great Marcel Dupre. He recorded all six of Vierne, and all 10 of Widor's symphonies - like climbing Mt. Everest.
@@federicosavio Ce n'est surtout pas le même orgue, et ça fait tout. A ND on a un orgue " à la Cochereau" avec tout ce que cela comporte. L'interprétation de Pierre attire tout de même les faveurs de mon coeur.
Wonderful piece (the first movement of the symphony may have influenced generations of film music composers!), wonderful organ and extraordinary interpretation! Thank you very much for let us to read the score during the listening of the Symphony. PS: also the final is super great!
Started as this Prelude and Fugue during his time as assistant at Ste. Sulpice. He may have been inspired to continue to work it into symphonic completion as inspired by the Sonatas of Guilmant, to whom the work is dedicated.
You requested it so I did it! I’m considering doing a second one with Michael Murray’s amazing recording at St-Ouen (my favourite organ ever). If you want me to do any other pieces please just ask. Although I’m planning to do all of Vierne’s symphonies, but that will take a while!
@@julianmatthews5785 Thank you very much, very much enjoying this score video, my fourth listen so far. I doubt you can find the pdf of this and it is completely fine if it is not possible to do so but I would love to see a score video of JS Bach's Komm Susser Tod arranged by V Fox.
@@xoknight8166 I’m sorry but that would be very unlikely, I will try my best but I doubt I can find a pdf of it. I’m so pleased you like this video so much. I know you like vierne so I will do some more of his pieces then!
Astounding playing. I personally never thought the organ of St. Sernin recorded as well as many of C-C's other instruments, but a monumental recording nonetheless.
I agree, too. And, the St. Sernin organ is a rather aggressive instrument, but it was not at all well served - tonally - by its last "restoration" (maybe well over 20 years ago??). I have much older recordings (Michael Murray playing Franck Masterworks) where the organ, while "tired" at that time, had a much more cohesive, yet still exciting sound.
@@davidminton5176bit late, but I agree with everything you say. I always think there is something missing with the St Sernin instrument, more so since the last work. Such a shame. St Ouen and St Sulpice still the superior instruments.
If you've only picked up on one tuning fault, you're very lucky compared to the rest of us who hear them all. Not an abnormal state of affairs on a French organ.
@@SirReginaldBlomfield1234 oh I understood plenty of tuning Faults, the Mixture was simply more Prominent than most of the Others. In my opinion, Many tuning Faults contribute to that "imperfectly perfect" Quality that makes pipe Organs Human and Beautiful:)
Thanks for posting. Not sure why he forgets clips of music in the last movement. Are these mistakes heard on tbe original recording. Also, not fond of the way he takes it upon himself to change too much in the score. Tempos aren't what Vierne wrote.
This organist has very poor rhythm. Extremely poor, in fact. True of so any organists today. I would add 'diminuendo poco a poco' does not mean to slow down. LEARN SOMETHING for a change. The addition of a fermata on the final chord of the symphony is absolutely awful. Evidently, this organist knows very little about musical architecture. That is what we refer to as a 'surface musician' - they play the notes but not the music.
![Georges Bizet - Symphony in C (1855) [Haitink Concertgebouw]](http://i.ytimg.com/vi/-xk7TVPyboY/mqdefault.jpg)
Merci à toi ,Jean-Claude de m'avoir offert cet album de Pierre Labric (le meilleur pour Vierne) quand j'avais 15 ans ! J'en ai 67 et je le redécouvre à chaque écoute sur cet excellent média - Puisses-tu me lire de là-haut ...R-I-P mon oncle.
That prelude is hauntingly beautiful
Duruflé must have been inspired by it when he wrote his Suite Opus 5 first movement.
J'adore ce compositeur merci beaucoup. Et quelle interprétation..!
And to think that Labric just turned 101. Let that sink in. In the context of history and 'organ schools' he's the last living of the previous French Organ School. His pedigree is absolutely astonishing! And what a player!
These recordings are from a collection put out by the MHS of all Six of Vierne's - and of Widor's Ten Symphonies. Labric was another Dupre Star Player - he was probably late 40s or early 50s at the time.
@@georgemurphy2579Very sloppy and rushed and erratic. Too much so for someone only in his 40s or even 50s.
Vierne is splendid! Congratulations to the organist who performed the symphony so virtuously!
He was just that - another wiz child of the great Marcel Dupre.
He recorded all six of Vierne, and all 10 of Widor's symphonies - like climbing Mt. Everest.
L'allégresse vivace est interprété avec une force extraordinaire. Je ne connais aucune interprétation supérieure à celle de Pierre Labric.
Moi je la connais, c'est celle de Pierre Cochereau à N. D. de Paris, beaucoup plus lente, expressive et solennelle.
@@federicosavio
Celle de Cochereau est différente et superbe, mais celle de Pierre LABRIC me plaît encore davantage.
@@federicosavio Ce n'est surtout pas le même orgue, et ça fait tout. A ND on a un orgue " à la Cochereau" avec tout ce que cela comporte. L'interprétation de Pierre attire tout de même les faveurs de mon coeur.
That can not be true. He does not play a quintessential performance of this piece.
Wonderful piece (the first movement of the symphony may have influenced generations of film music composers!), wonderful organ and extraordinary interpretation! Thank you very much for let us to read the score during the listening of the Symphony.
PS: also the final is super great!
Started as this Prelude and Fugue during his time as assistant at Ste. Sulpice.
He may have been inspired to continue to work it into symphonic completion as inspired by the Sonatas of Guilmant, to whom the work is dedicated.
Thank you for the information about the Symphony n. 1. Many greetings!@@georgemurphy2579
Thank you for the explanation!
Brilliant! Fantastic! Thank you for sharing! Virtuosic!
Thank you for sharing this video with us. I thoroughly enjoyed this! *comment fixed
Glad you enjoyed it but please read the description again, the organist is Pierre Labric not me!
Absolutely lovely, thank you
You requested it so I did it! I’m considering doing a second one with Michael Murray’s amazing recording at St-Ouen (my favourite organ ever). If you want me to do any other pieces please just ask. Although I’m planning to do all of Vierne’s symphonies, but that will take a while!
@@julianmatthews5785 Thank you very much, very much enjoying this score video, my fourth listen so far. I doubt you can find the pdf of this and it is completely fine if it is not possible to do so but I would love to see a score video of JS Bach's Komm Susser Tod arranged by V Fox.
@@xoknight8166 I’m sorry but that would be very unlikely, I will try my best but I doubt I can find a pdf of it. I’m so pleased you like this video so much. I know you like vierne so I will do some more of his pieces then!
Astounding playing. I personally never thought the organ of St. Sernin recorded as well as many of C-C's other instruments, but a monumental recording nonetheless.
I agree. It's an aggressive instrument. I am fond of it but prefer St. Ouen.
I agree, too. And, the St. Sernin organ is a rather aggressive instrument, but it was not at all well served - tonally - by its last "restoration" (maybe well over 20 years ago??). I have much older recordings (Michael Murray playing Franck Masterworks) where the organ, while "tired" at that time, had a much more cohesive, yet still exciting sound.
@@davidminton5176bit late, but I agree with everything you say. I always think there is something missing with the St Sernin instrument, more so since the last work. Such a shame. St Ouen and St Sulpice still the superior instruments.
Well... happy 400 followers, Julian!
Well... thank you for subscribing !!
I don't know if you can fix this or not, but the video has like 4-5 ads in random spots. Otherwise, great work and thanks for the upload.
Oh that's so annoying! I'll see if i can get rid of them, but if i can't usually having adblocker stops all the ads!
Well the raced finale sounds like a mud of sound
oof the mixture seems to be out of tune in the Allegro Vivace
If you've only picked up on one tuning fault, you're very lucky compared to the rest of us who hear them all. Not an abnormal state of affairs on a French organ.
@@SirReginaldBlomfield1234 oh I understood plenty of tuning Faults, the Mixture was simply more Prominent than most of the Others. In my opinion, Many tuning Faults contribute to that "imperfectly perfect" Quality that makes pipe Organs Human and Beautiful:)
I was wondering if anyone else noticed the high g... in the reeds. Made me feel right at home.
Pourquoi jouer le prélude aussi rapidement ? Dommage.
Thanks for posting. Not sure why he forgets clips of music in the last movement. Are these mistakes heard on tbe original recording. Also, not fond of the way he takes it upon himself to change too much in the score. Tempos aren't what Vierne wrote.
This organist has very poor rhythm. Extremely poor, in fact. True of so any organists today. I would add 'diminuendo poco a poco' does not mean to slow down. LEARN SOMETHING for a change. The addition of a fermata on the final chord of the symphony is absolutely awful. Evidently, this organist knows very little about musical architecture. That is what we refer to as a 'surface musician' - they play the notes but not the music.