Thank you for uploading this. To my mind, Vexo is one of the best organists to listen to if you want an "authentic" interpretation. He has the precision of Dupré, minus the harshness, the virtuosity of Latry, minus the showiness, and the authenticity of van Oosten, minus the stodge. This is technical excellence, refined expression and poetry combined.
I played this piece as a prelude to the Christmas Midnight Mass at St.Joseph's in New Bedford, Massachusetts, in 1978. One of my fondest memories, Now, at 74, I still hallucinate about having a chance to do it again! (The organ was a 1960 Larry Phelps Casavant, III/44). Oh yes, this chap plays it a heck of a lot better than I did --- or ever even could!
A Larry Phelps 1960 Casavant at Grace Church is Providence (III/103) is about to get a long overdue Casavant rebuild with a ETA of 2026. The new will be IV/106.
I know little about organ playing, but I know I love the organ, and I love Franck, and this piece has always filled me with happiness. I do not know how Vexo or other performers work their magic, but magic it is. (Granted, not just their magic, but Franck’s, and the organ-builder’s, and the nave architect’s.) I have truly enjoyed this performance, and will gratefully repeat it many times, I am sure.
You are one of the exponents of a long French tradition, love your interpretations, hope to welcome you in the Maria van Jesse Church in Delft, Surprise us with an exciting program.
Hýml to je dílo. Já Francka vlastně nemám rád, ale máme v pěveckém sboru nového dirigenta, a ten člověk mě snad na francouzské varhany (Vierne; Duruflé) naučí 🙂. L'hymne est une œuvre. Je n'aime pas vraiment Franck, mais nous avons un nouveau chef de chœur, et cette personne, j'espère, m'apprendra l'orgue français (Vierne ; Duruflé) 🙂.
I never even heard of this organist. Fantastic player. I will listen to more of him. Except he totally rewrote the ending. There is NO RITARD in the score. And no fermata on the last chord. Not a good choice. Such a magnificent piece by the Maestro Franck.
Completely disagree. M. Vexo's choices are WELL within the scope of Franck's intentions. He exploits the instrument and space of Notre Dame perfectly. In my book, this particular recording is near authoritative!
Christophe Mantoux, Vexo’s teacher taught that there is an implied ritard at the end of almost every piece of Franck, Widor, etc. and that the composer didn’t write it because the music demands it without it needing to be written.
