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Ben van Oosten Lyrics

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Comments from YouTube:

Sergio Cánovas

The Marche funèbre is in a ternary form. A heroic song announces itself as the main theme above rhythmically pulsating chords. In the middle section, elements of this theme are heard in a chorale-like four-part texture in the major key. The funeral march is then taken up once more and ends in pianissimo. The Berceuse is a lullaby, which Vierne dedicated to his daughter Colette, carries the subtitle "sur les paroles classiques". It is based on the French children's song "Dodo, l'enfant do", which Vierne harmonises in a extraordinary emotional manner. This delicate, charming piece is one of Vierne's best-loved organ works.

The Pastorale, after a recitative-style introduction, whose melody later returns as an interlude, a cantabile solo enters, supported by the bass pizzicato efects. A more agitated middle section in the major key is followed by the repise of the solo, now, however, with a more expansive bass part. A reminder of the middle section is heard in the coda. The Carillon is a piece based on the carillon of the Chapel of the Castle of Longpont (Aisne).

It opens with full organ, the carillon theme entering in an energetic perpetuum mobile in the pedals, above which powerful, detached chords appear. In the middle the volume drops and the carillon theme continues on the manuals. Striking features are the modulations, the highly effective staccato articulations and the dynamic effects. A gradual crescendo leads into the repise of the opening, ending with a coda.

With the Élégie, among the pieces in free style there are a remarkable number of pieces of a serious, melancholy character that reflects Vierne's depressive tendencies. So it is with this moving and extremely chromatic lament. Vierne's biographer Bernard Gavoty indicates the influence of Gabriel Fauré in the closing section. The Éphitalame starts with a Vierne's characteristic, expressive melodic writing and colourful harmonies are also evident in this "wedding ode".

The Postlude may be divided into two sections. In the first section lively, improvisatory semiquaver passages are heard, interrupted by expressive chords. An allegro non troppo vivo e sostenuto in a terser style follows. A dotted theme in the upper voice is accompanied by semiquaver figures and a gradual crescendo leads to a climax on full organ.

Sources from the booklet of the recording.

Andres Gunther

Thanks for posting this already legendary performance. Many years ago I was told that Ben van Oosten was the best Vierne performer. I am a former concert organist and played several of these wonderful pieces myself. Currently I am working as pipe organ technician, but it brings back fond memories, and I absolutely love the Cavaille-Coll sound. Although symphonic organs and their music are finally coming back into style, there is no par to this.

Tamás Török

1:01:54 beautiful💙💙🙏🏽🙏🏽!!