Diane Bish - Ad Nos. Ad Saluterum "Finale"

[@kgs202]

A piece that is very sweeping and dramatic....and exhibits much power..located in a wonderful cathedral setting....an excellent demonstration of the musical sensitivity of Diane when she is seated at the king of instruments.

[@WMAlbers1]

This is - -by the way - the organ on which the first performance of the piece was given in 1855 by Alexander Winterberger...

[@markhall7646]

Ms. Bish wears some really colorful outfits. On that basis I would describe her as the "Porter Wagoner of the Organ".

[@altpapapi]

Tempo is always at the artist's discretion after taking into consideration the instrument, the action, the possible registrations and most of all the reverberation time of the space where the instrument is located. In essence, tempos are arbitrary and are always negotiable between the composer's intent and the artist's reality.

[@fansofdianebish]

@BayAreaBiker2001 I have that CD! It's a great piece to showcase the power of the Midmer-Losh! On the very last chord, he uses the powerful Grand Ophicleide! It's played by Stephen D. Smith.

[@altpapapi]

I think Diane Bish is one of the very best. The magnificence of this work by Liszt is not necessarily best heard on some huge overblown organ. For another exemplary performance of the entire composition see Sebastian Kuchler-Blessing's four videos on KZbin. His instrument is a mere thirty-five stops yet every nuance of maestro Liszt's genius is displayed with competent skill at managing the organ registration. I find Miss Bish's performance equally enjoyable.

[@1401JSC]

Yep! I bought the Peters Edition of Liszt's works years ago. Constituting one's pesonal library is a lifetime investment.

[@1401JSC]

The final orchestral chord of Wagner's "Tristan und Isolde" is pianissimo with a swell (cresc. dim.) It is played by almost all the instruments of the orchestra, though one would hardly be aware of it. Nor is one aware of the sonority of the only instrument which is missing! (Cor Anglais). But research tells us why: the Cor Anglais is the instrument that has been associated with betrayal and deluded hope in the opera. In spite of the death of the hero and heroine, love is not lost .

[@CoutureOrganiste]

Her costumes are made her for and usually to her designs.

[@bradtaylor32]

In my research I haven't found anything that says he wrote this piece for any specific organ--perhaps this is the organ where it was first played by his student, I don't recall. I do remember that one of the few registration suggestions he makes is for the "tromba" to be used on the last page for the fanfare. Either Ms. Bish didn't use it, or this organ doesn't have one. If it is the latter, I would certainly question his writing the piece for this organ in particular.

[@bradtaylor32]

Agreed. With all the organs she's played on, you'd think there would be a better one suited to this piece.

[@mortson978]

yep, she did a pretty good job on the coda. Very accented. I like the midmer losh version. Definately watch sebastian's version. Even better.

[@altpapapi]

Previous in response to Scott1916 a.k.a. Mr. Know-It-All.

[@FirewoodEnjoyer69]

Her pedal technique here might be harsh because she said about this organ that it was very hard to play, including the pedals,

[@1401JSC]

Does one really need to pull out ALL those stops to have the same intensity of sound? Adding the gedachts of two manuals will only increase the intensity by 1db, and at the end, the reservoirs are struggling to give enough wind!!

[@dxhtz]

does anyone else find the graphic of the "M" in "The Joy of MUSIC"..to be a bit naughty?!!....and actually A LOT NAUGHTY!!

[@bradtaylor32]

Never heard it played this slow. Hmm.

[@dieselheart001]

I think it evokes the image of one half of the buttocks, or a really pendulous breast. But that's just me...

[@bradtaylor32]

que?

[@cromorno8749]

It's ad nos salutarem, ignorants!

[@cromorno8749]

@Maikind K. Should I be a whiner?😂 I'm an organist, surely better than Mrs. Bish🤷‍♂️😂

[@sebastianKB]

It's correct title would be "Fantasy and Fugue on "Ad nos, ad salutarem undam" (Theme of an choral by Meyerbeer)", but ok... I think that it is played a little too slow and expressive - think that Alexander Winterberger (performed it in 1852 in Weimar and then 1855 in Merseburg) was a young, dynamic player who surely played not such objective - this music is like a vulcan; always moving, always roaring, always firing; it's not written in a cold move - so why is it played this like?

[@revfalusi]

Shit.