César Franck's Chorales For Organ

[flûte harmonique]

critics

 

You are not he only one to like this recording!

[handsoff]

Oh good! Our small band is growing

[Fiffaro]

Should recordings of (acoustic) guitar music be subject to similar criteria? Would we criticise such a recording if we are able to hear noise from the fingers sliding on the strings? What about recordings of cellists who preplay notes quietly or hit their fingers quickly onto the fingerboard to check intonation before major entries? What about recordings of wonderful gamba playing with the breathing of the player present. Would we condem a recording of harpsichord music because of the sound of the jack falling back into place when the note is released? Do we acknowledge the change of quality which occurs with the voice across the voice's range with even the most beautiful voice?

 

I smell a rat when critics ignore extraneous noises or strange characteristics from other instrumentalists whilst criticising organists for the sounds that are part and parcel of the organ. To my mind, other music lovers criticising the sounds of a barker lever working away only indicates that they need to find out more about the instrument they are listening to much as we learn to forgive any instrument its strange ways.

 

(These comments are made generally as I have not heard any of Andrew McGregor's programmes.)

[Peter Allison]

I recently listened to David sangers "complete" Franck, that was recorded in the Katerina church, in Stockholm?? obviously long before it was burnt down. Its an old anologue recording, using a Revox reel to reel tape recorder. I spoke to him the other week, and he said he did not think "anyone ever listened to that" A fine recording and quality playing imho

Peter

[john carter]

I recently listened to David sangers "complete" Franck, that was recorded in the Katerina church, in Stockholm?? obviously long before it was burnt down. Its an old anologue recording, using a Revox reel to reel tape recorder. I spoke to him the other week, and he said he did not think "anyone ever listened to that" A fine recording and quality playing imho

Peter

Next time you speak to David, you can say that I still listen to that recording and it gives me much pleasure 28 years on, not least because of my links with the Katarina Church. However, I would be interested to learn whether he would approach it in the same way today. But much as I admire David's recording, I still go back to Fernando Germani, who first introduced me to Franck, as my point of reference.

[Peter Allison]

Next time you speak to David, you can say that I still listen to that recording and it gives me much pleasure 28 years on, not least because of my links with the Katarina Church. However, I would be interested to learn whether he would approach it in the same way today. But much as I admire David's recording, I still go back to Fernando Germani, who first introduced me to Franck, as my point of reference.

 

I spoke to him on FB, and when he came to york minster to do a recital last year. I will have to see my friend, and see if he has the Gemani recordings that were issued, I have only heard a "private" recording of him playing in st pauls cathedral, which i believe included one of the franck pieces

[Adnosad]

My first recordings of these works were Jeanne Demessieux and then Germani. I still think they are wonderfully wrought performances in differing traditions perhaps. But the quality of the recordings might leave much to be desired these days. I love the description of the former's funeral in her church in Paris (La Madeleine). The coffin was draped in black (Dior?) to the floor and the organ remained silent.

N

 

For me personally, I am in full agreement with regards to the performers. I don`t fully agree with you as to the quality of the recordings. I feel that the engineer successfully " caught " the ambience of the church in Demessiuuxs` performance. Action noise is an added bonus!!

 

Regarding the description of The Great Ladys funeral I stand to be corrected ,but I think it was the organ case which was draped in black.

 

My big regret is that I never had the chance to see her play. I am very fortunate to have in my possesion a programme she played at the Colston Hall in `57.

My parents were very impressed by the way she wiggled onto the stage in a pencil skirt, perched on the edge of the stool, unzipped her dress almost to the thigh , swung her legs over and commenced playing complete with those legendary heels. The stuff of legends!

 

Progigious talent , due to Dupre as her tutor/mentor but unfortunately she had to pay a heavy price for her art.