About this blogger:
A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.
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“From six in the evening, his martyrdom had continued through the ghastly night until nine o'clock in the morning. After fifteen hours of torture rarely if ever surpassed in the bloody annals of the Iroquois, the soul of Gabriel Lalemant was freed from its charred and mutilated prison and summoned to join his comrade Jean de Brébeuf in the radiant splendor of God. March 17th, 1649, was the date; for Brébeuf it had been the sixteenth.”
— Fr. John A. O'Brien, speaking of St. Gabriel Lalemant

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Nothing More Corny Than This
published 13 June 2017 by Jeff Ostrowski

RTURO Benedetti Michelangeli was never a favorite of mine, but nobody doubts his stature as a great pianist. Here’s a clip from 1949, where Michelangeli performs a transcription—by another famous Italian pianist, named Ferruccio Busoni—of Bach’s Toccata and Fugue in d minor:


I find his interpretation compelling, but what could be more corny than the way the sculptures are “shown with the beat” at the 1:15 marker?

A word on transcriptions: they went out of style in the 1950s, but sensible musicians realize this was an overreaction. Indeed, in certain cases, a transcription can be nicer than the original. If people who oppose transcriptions want to be consistent—as Busoni once pointed out—they should also be against “theme and variations” pieces.

What Edwin Fischer does with the Bach-Busoni SAINT ANNE is remarkable.