Very well done, bravi. However, I like the second "amen" added an octave down, as John Charles Thomas always used to sing it. It was written for him, I believe, so that should be good authority for including it). It softens the somewhat bombastic nature of the finale. But again, bravi tutti
I used to sing this as an operatic baritone in my 20s and as a dramatic tenor in my 30s (back in the 1970s and 80s). So as a former professional opera singer, my thoughts: A lot of singers rewite the ending of this piece. In this rendition you do, with the reiterated climax, going back up to a high B natural again at the end. By the way, most of us mere mortals sing this piece an half tone lower than you did here. (I am talking tenors and sopranos who sing this in Bb. Baritones and mezzos usually sing this a third lower.) I commend you on your bravery! :) That said, I like the evenness of your registration through the passaggio. That's something all singers aspire to. The organist's playing is really 'soupy' which does not give the singer much support. It causes the singer to compensate for the lack of solid support by causing him to sing with more of a staccato effect and therefor with less legato. This is really pronounced as you sang, "For thine is the kingdom and the power and the glory." You were forced to puntuate those notes when she should have. When I was hired to sing at weddings and funerals with an organist I hadn't worked with before, I always gave them these simple instructions: Pull out all the stops (I had a large Wagnerian voice), and Play like a pianist! (They always seemed to understand; it helped prevent the 'soupyness' or nebulousness of beat that many organists play with. Thanks for leaving this posted in YT.
could you clarify what you mean by 'soupy'? are you saying she's playing too legato? I don't have the score, but how it is marked? or does authorial intent matter?
@@Salmagundiii By that I mean she had no clear sense of tempo. I think she was trying to follow the singer instead of "singing" it with him. When he sang the last phrases she should have played with an ever increasing stentato, punctuating the underlying chords to support him. That's actually indicated by Malotte. He had to do the same thing I had to do when the pianist or organist was not playing strongly enough, where it seemed that they were afraid of playing with a clear rhythm and that was to be more intense in my own phrasing and make the beats as clear and resolute as possible. Another thing a singer needs to do is point out to the organist in advance how you were going to phrase. I frankly would tell organists that I would be singing this piece like a musician -- until I got to the high Bb. Then I would become a tenor. Most got a kick out of that. I would hold the Bb for six beats instead of three, telling them to simply reiterate the chords underneath me and then listen for when I would come off the note. I did this rather than reiterating the phrase that this tenor does. In this rendition, when the tenor reiterated the high phrase going back up to the B, but instead of staying with him, she started to play the descending chords thus reducing the climatic effect the tenor was creating. Again, it's a collaboration., whether it's between a singer and a pianist or organist or between a singer and a conductor. What made James Levine a great accompanist and conductor for singers was that he breathed and phrased with them every step of the way.
That’s when you differentiate a singer from a musician AND when you realize the singer is there for his own glory and NOT for the Glory of God. His added note is like saying “for thine is the power, etc. but the glory[due to my marvelous high notes] is MINE!”
Beautiful rendition of this sacred classic that I learned decades ago. But I wish you'd stick to the original ending instead of improvising it, which was not as prayerful, unfortunately.
Most famous and beautiful. Malotte is the composer.
Lovely!
That is some really good singing.
The best rendition, finally I've found a video with a tenor not afraid of getting to the highest note at the end. Simply perfect
Depois verá a minha performance.
Wow! Beautifully sung; beautifully played!
hermosisima interpretacion. la mejor cancion, como honrra a Dios, a Jesus.
Beautiful in every regard.
Very well done, bravi. However, I like the second "amen" added an octave down, as John Charles Thomas always used to sing it. It was written for him, I believe, so that should be good authority for including it). It softens the somewhat bombastic nature of the finale. But again, bravi tutti
Beautiful!
Beautiful organ setting
Maravilhoso! Bênção
Gratidão, Gratidão, Gratidão
Beautiful
Brilliant performance with lovely organ registration. Amen.
I used to sing this as an operatic baritone in my 20s and as a dramatic tenor in my 30s (back in the 1970s and 80s).
So as a former professional opera singer, my thoughts:
A lot of singers rewite the ending of this piece.
In this rendition you do, with the reiterated climax, going back up to a high B natural again at the end.
By the way, most of us mere mortals sing this piece an half tone lower than you did here. (I am talking tenors and sopranos who sing this in Bb. Baritones and mezzos usually sing this a third lower.)
I commend you on your bravery!
:)
That said, I like the evenness of your registration through the passaggio. That's something all singers aspire to.
The organist's playing is really 'soupy' which does not give the singer much support.
It causes the singer to compensate for the lack of solid support by causing him to sing with more of a staccato effect and therefor with less legato.
This is really pronounced as you sang, "For thine is the kingdom and the power and the glory."
You were forced to puntuate those notes when she should have.
When I was hired to sing at weddings and funerals with an organist I hadn't worked with before, I always gave them these simple instructions:
Pull out all the stops (I had a large Wagnerian voice), and
Play like a pianist! (They always seemed to understand; it helped prevent the 'soupyness' or nebulousness of beat that many organists play with.
Thanks for leaving this posted in YT.
⭐⭐⭐⭐⭐ great critique ❤
could you clarify what you mean by 'soupy'? are you saying she's playing too legato? I don't have the score, but how it is marked? or does authorial intent matter?
@@Salmagundiii By that I mean she had no clear sense of tempo. I think she was trying to follow the singer instead of "singing" it with him.
When he sang the last phrases she should have played with an ever increasing stentato, punctuating the underlying chords to support him.
That's actually indicated by Malotte.
He had to do the same thing I had to do when the pianist or organist was not playing strongly enough, where it seemed that they were afraid of playing with a clear rhythm and that was to be more intense in my own phrasing and make the beats as clear and resolute as possible.
Another thing a singer needs to do is point out to the organist in advance how you were going to phrase.
I frankly would tell organists that I would be singing this piece like a musician -- until I got to the high Bb. Then I would become a tenor.
Most got a kick out of that. I would hold the Bb for six beats instead of three, telling them to simply reiterate the chords underneath me and then listen for when I would come off the note.
I did this rather than reiterating the phrase that this tenor does.
In this rendition, when the tenor reiterated the high phrase going back up to the B, but instead of staying with him, she started to play the descending chords thus reducing the climatic effect the tenor was creating.
Again, it's a collaboration., whether it's between a singer and a pianist or organist or between a singer and a conductor.
What made James Levine a great accompanist and conductor for singers was that he breathed and phrased with them every step of the way.
Magnífico ❤❤
Amen!
So beautiful
Who is the singer?
Who's the tenor?
No to that interpolated ending. Awkward. High note on forEVer, then the Amen softly and reverently is best I think.
That’s when you differentiate a singer from a musician AND when you realize the singer is there for his own glory and NOT for the Glory of God. His added note is like saying “for thine is the power, etc. but the glory[due to my marvelous high notes] is MINE!”
Baritenor?
Beautiful rendition of this sacred classic that I learned decades ago. But I wish you'd stick to the original ending instead of improvising it, which was not as prayerful, unfortunately.
Sorry - I hate they make the "new" lyrics from trespasses - literally ruins the whole point of the song.