handsoff Posted June 6, 2009 Share Posted June 6, 2009 As this topic has been revisited - I'd be most interested to hear of the experiences of others of playing Dupre's works. I tried once! Link to comment Share on other sites More sharing options...
Peter Clark Posted June 11, 2009 Share Posted June 11, 2009 Another recording, albeit on a toaster! I must say I am unsure why he didn't get a page-turner, if not a registration assistant. www.youtube.com/watch?v=Ac7TXZiv2cg&feature=channel_page Peter Link to comment Share on other sites More sharing options...
Peter Clark Posted June 19, 2009 Share Posted June 19, 2009 I watched this again and notice that at bar 1 page 5 he gives us d natutrals rather than d sharps. Why is this? Is there a variant reading? Has anybody worked out this chap's identity? Peter Link to comment Share on other sites More sharing options...
Paul Morley Posted June 19, 2009 Share Posted June 19, 2009 I watched this again and notice that at bar 1 page 5 he gives us d natutrals rather than d sharps. Why is this? Is there a variant reading? Has anybody worked out this chap's identity? Peter The venue is Salford RC Cathedral, if that helps. Link to comment Share on other sites More sharing options...
Peter Clark Posted June 23, 2009 Share Posted June 23, 2009 It's Anthony Hunt, organist of St John's Cathedral, Salford. Link to comment Share on other sites More sharing options...
Peter Clark Posted July 13, 2009 Share Posted July 13, 2009 I contacted Anthony Hunt via Salford Cathedral, and he very decently wrote back to me offering tips on how to approach the more difficult passages. I reckon that rather thar learn it as a whole, it might be psychologically advantageous to break it up into 6 or 7 mini-pieces and learn these - not necessarily in the order that the passages occur - and then put it together. Peter Link to comment Share on other sites More sharing options...
Guest Roffensis Posted July 14, 2009 Share Posted July 14, 2009 Another recording, albeit on a toaster! I must say I am unsure why he didn't get a page-turner, if not a registration assistant. www.youtube.com/watch?v=Ac7TXZiv2cg&feature=channel_page Peter Mind you, he did very well indeed even so. The only thing that really surprised me was how often he looked down. A difficult piece though. And yes I agree, a toaster. There must be pipe organs begging for such a home? R Link to comment Share on other sites More sharing options...
En Chamade Posted August 25, 2009 Share Posted August 25, 2009 I think there is a similar issue in the Symphonie-Passion - although I might be thinking of the wrong work.As this topic has been revisited - I'd be most interested to hear of the experiences of others of playing Dupre's works. I'm newly registered, so apologies for what seems like a delayed reply. There is a similar issue in the first movement of the Symphonie-Passion. Top pedal F sharps starting at bar 16 of the Jesu Redemptor section. One way round this is to take the F sharps with the right hand on the swell, which is coupled to pedal at that point anyway. This is easier and doesn't seem to affect the music in any way. EC Link to comment Share on other sites More sharing options...
Peter Clark Posted August 25, 2009 Share Posted August 25, 2009 Langlais' Incantation pour un jour Saint uses six different plainsong fragments from the Litany of the Saints, used in the Holy Saturday liturgy. I'm not totally convinced by the link with the Dupré, and Sue Kirkland argues in Organists' Review (May 2005) that there is a link between Langlais' Incantation and Alain's Litanies. If anything, one could put forward a case for *Litanies* being influenced by the [Cortège et] Litanie. That being the case, could we argue for a granfather-father-son relationship between the three pieces, Cortege et Litanie (1922) fathering Litanies (1937) which in turn fathered Incantation pour un jour Saint (1949)? Peter Link to comment Share on other sites More sharing options...
En Chamade Posted August 25, 2009 Share Posted August 25, 2009 If anything, one could put forward a case for *Litanies* being influenced by the [Cortège et] Litanie. Interesting. An obvious giveaway is the Durufle Prelude sur le nom d'Alain. The Dupre Litanie is clearly audible (to me) in the crochet triplet theme. EC Link to comment Share on other sites More sharing options...
timothyguntrip Posted August 25, 2009 Share Posted August 25, 2009 The connection between the Cortege et Litanie and Durufle ALAIN was not something I'd noticed before - I'll have to dig out my score of the ALAIN and take a look more closely. Regarding Dupre's off-compass notes, another is the Suite Bretonne - which had its first performance in New York. The top pedal notes in the Berceuse would perhaps have been possible on American instruments. To solve the problem in that fiddly section with the Swell Vox Humana, instead of a 4ft flute on pedal, I couple a 2ft stop to the pedal and play an octave lower, which seems to work. Link to comment Share on other sites More sharing options...
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