Concert at the Cavaillé-Coll (1868) pipe organ – Cathedral Notre Dame de Paris – July 2017
Concert at the Cavaillé-Coll (1868) pipe organ – Cathedral Notre Dame de Paris – July 2017


Concert at the Cavaillé-Coll (1868) pipe organ – Cathedral Notre Dame de Paris – July 2017

Concert of organ at th festival of the Montserrat Abbey by Loreto Aramendi. The program included romantic and contemporary pieces for the Blancafort pipe organ.

Along with the ARV-VOCEM Choir, the Sotto-Voce Orchestra and Loreto Aramendi, at the Cavaillé-Coll Organ, a concert was offered with music by F.Poulenc, Arvo Pärt and Maurice Duruflé.

Loreto Aramendi was presenting her last CD featuring the art of Transcriptions by Louis Robilliard, Louis Vierne and Franz Liszt.
Louis Robilliard was present to assist the interpretation on his Cavaillé-Coll organ.

Transcriptions. Loreto Aramendi plays Camille Saint-Saëns, Sergei Rachmaninov, F. Liszt, J.S. Bach, Richard Wagner and Gabriel Fauré at the Aristide Cavaillé-Coll (1890) pipe organ of the Saint Ouen Abbaye of Rouen (France).

Concierto al órgano Mana Orgelbau (1990) – Hokutopia Hall – Tokyo – Abril 2017

Concierto al órgano Jäger & Brommer (2013) – Mototera Koji Church – Sendai/Japon – Abril 2017

Concert at the Kuhn pipe organ (1997) – Tokyo Opera City Hall – April 2017

Organ Series at San Ginés church – Sacred Music Festival – Madrid – April 2017

Music for Lent – Austin organ (1960) – Hartford Cathedral (Connecticut) – March 2017

Concert at the Casavant organ (1938) – Cathedral of Lewiston (MN) – March 2017

Concierto de órgano – cíclo “HumanArts” – Assumption College (Massachusetts) – Marzo 2017

Concert – Matinées – Art of fugue – March 2017

Excellent review of the double CD by “Organists’ Review” – December 2016 (reviewer : David Baker).
“This is a splendid recording” [..] “It is clear that Loreto Aramendi is a very special player performing on an outstanding instrument” [..] “Aramendi’s total command of the instrument makes these two CDs worthy of special praise”
“Exemplary nature of playing” [..] “Playing and interpretation of a very high standard thanks to the performer’s stunning technique and her command of the registrational complexities of both the organ and the composition”