23 OLIVIER LATRY Finally, you play – in every sense of the word – with your own conception of authenticity . . . Every performer plays with the instruments of his or her time, and the instrument I have here at Notre-Dame is an outstanding one. One cannot and must not fight against the past, but on the contrary assimilate it, the better to derive inspiration from it and then find one’s personal path. We shouldn’t really be talking about authenticity at all, but, more soberly, about sincerity. 1. Father Jacques Leclercq is the author of two books, Le Jour de l’Homme (Paris: Le Seuil, 1998) and Debout sur le soleil (Paris: Le Seuil, 1980). The composer Jean-Louis Florentz borrowed the title of the latter for one of his organ pieces op.8. 2. Leopold Stokowski (1882-1977) began his career as an organist and choirmaster. He made a number of orchestral transcriptions, including works by Bach. Between 1934 and 1972, he recorded the Toccata and Fugue in D minor BWV 565 several times. 3. The grandiose Fantasia and Fugue in G minor BWV 542 has prompted a number of arrangements. There are versions for piano by Franz Liszt (the earliest) but also Cyprien Katsaris, and orchestral transcriptions by Leopold Stokowski and Dimitri Mitropoulos. 4. The organist, composer and organ builder Johann Gottlob Töpfer (1791-1870) had a profound influence on the design of the organ and was a close associate of Liszt in Weimar.
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