
Wydawnictwo: Hyperion
Seria: Saint-Saens Organ Music Volume
Nr katalogowy: CDA 67922
Nośnik: 1 CD
Data wydania: maj 2012
EAN: 34571179223
Seria: Saint-Saens Organ Music Volume
Nr katalogowy: CDA 67922
Nośnik: 1 CD
Data wydania: maj 2012
EAN: 34571179223
Saint-Saens: Organ Music vol. 3
Hyperion - CDA 67922
Kompozytor
Camille Saint-Saens (1835-1921)
Camille Saint-Saens (1835-1921)
Wykonawcy
Andrew-John Smith, organ
Andrew-John Smith, organ
Utwory na płycie:
Saint-Saëns: 3 Rhapsodies Sur Des Cantiques Bretons, Op. 7 - #2 In D
Saint-Saëns: 3 Rhapsodies Sur Des Cantiques Bretons, Op. 7 - #1 In E
Saint-Saëns: 3 Rhapsodies Sur Des Cantiques Bretons, Op. 7 - #3 In A Minor / F
Saint-Saëns: Dies Irae
Saint-Saëns: O Salutaris Hostia In D
Saint-Saëns: Sarabande In D, 'Offertoire'
Saint-Saëns: Élévation Ou Communion In E, Op. 13
Saint-Saëns: Fantaisie Pour Orgue-Aeolien
Trois Rhapsodies sur des cantiques bretons
Dies Irae
O salutaris hostia, Sarabande
Elevation ou Communion, Fantaisie pour orgue-Aeolian
Dies Irae
O salutaris hostia, Sarabande
Elevation ou Communion, Fantaisie pour orgue-Aeolian
This third volume completes Andrew-John Smith’s series of Saint-Saëns’ Organ Music, which has been praised for the compelling brilliance of the performances, the inspired choice of instrument and the remarkable quality of the music itself.
The recital ends with the formidable Fantaisie pour orgue-Aeolian, a work which makes extraordinary technical demands on the organist in fact the composer himself wrote that it was ‘unplayable by the fingers and feet’. This led to the work being condemned to obscurity and it was as recently as 1988 that it was reconstructed and published for the first time. Andrew-John Smith’s performance defies this edict, and the translation of the original registration to the organ of La Madeleine is a feat of ingenuity.
organ of La Madeleine, Paris
The recital ends with the formidable Fantaisie pour orgue-Aeolian, a work which makes extraordinary technical demands on the organist in fact the composer himself wrote that it was ‘unplayable by the fingers and feet’. This led to the work being condemned to obscurity and it was as recently as 1988 that it was reconstructed and published for the first time. Andrew-John Smith’s performance defies this edict, and the translation of the original registration to the organ of La Madeleine is a feat of ingenuity.
organ of La Madeleine, Paris