As others have commented here - perfect tempo. One of the things this tempo and general pacing does is allow the music to breath. Thrilling but spacious. Thank you!
monsieur, my piano teacher in college said once that if you had to have the music in front of you, you really don't know the music. I, at a much advanced age, agree with him. Merci mille fois!!!!
Glad it’s still sounding so good and what a great performance! (from memory: ultimate kudos for such a complicated piece) I heard the organ was in very bad condition and needing a rebuild but seems fine here thank goodness.
Actually it lays quite handy under your hands in many places. Toccatas - in my opinion (and I am absolutely no professional organ player) - are a lot easier to memorize than fugues.
...a totally awesome performance of this sork played with intensity and fire. Sadly I cannot save it to my library. ETA: was a glitch in RU-vid as I was finally able to save it.
Bravo! J'apprécie tout l'œuvre de Vierne et c'est mon préféré. C'est la meilleure interprétation que j'aie jamais entendue, meilleure qu'Olivier Latry !
Outstanding performance, I’m looking forward to seeing more performances like this played on this magnificent instrument, my great admiration from Brazil 🇧🇷
Excellente interprétation, jouée à un tempo soutenu mais sans excès ni précipitation. Très bonne prise de son également, on entend même les basses de chamades crachouiller par moments (les microphones étaient à la même hauteur ?), j'adore ! Par ailleurs, l'orgue sera restauré prochainement. Au vu de l'état du clavier, et même du buffet, on devine que le reste non visible doit suivre, donc la nouvelle est très heureuse !
Wonderful performance, its interesting you can see what key's and manuals are played the most as indicated by the yellowing of the key tops from age and undoubtedly from the oils on organists skin.
St Ouen had a water leak which caused the damage to the keys. If you look at St Sulpice which is a good 30 years or so older than St Ouen you won't see anything as bad as the keys at St Ouen are.
Cette version est préférable à celle de Thomas Ospital. Jean-Baptiste Monnot dépasse l'approche virtuose et livre une interprétation qui aidée par le fabuleux Cavaillé-Coll, correspond davantage à l'esprit de Vierne : profondeur et mystère. En réalité, cette toccata est d'une grande poésie.
A 1:13 des jeux se rentrent tout seul. Cet orgue a t-il un combinateur pneumatique qui pousse ou tire la mécanique des registres? Cela est signalé nul part
This video comes very handy as I'm learning this toccata and can see a lot of fingering even though I use a different one at times. A question: Vierne himself mentions only Fonds et Anches 32' 16' 8' 4'. Nothing about Mixtures or higher pitched pipes like 2' or the like. May I ask you how you registered this piece? I think using no higher registration than 4' makes the piece a bit dull. But I'm only an amateur organist who reliese more on the opinion of others and I'm always glad to have a suggestion on how to register a piece. Thanks, Thomas
I'll tell you how I tend to do it: first of all, I keep in mind that, logistically speaking, upperwork and mixtures are paired with the reeds to form the 'Jeux de Combinasion' on these Cavaille-Coll organs. That means that the ventil for reeds also turns on mixtures if they've been selected. Practically speaking, that means that the way I'd register it as written, but including upperwork along with the reeds. That all depends on the organ and the room, of course, and there's so single right way of doing it. You can also decide when to add the 32's.
For Vierne works, consider cornets and mixtures as part of the reeds. Reeds tend to be weaker in the high pitches that is why adding cornet (and mixtures) is always a good thing in symphonic tuttis, it add strenth in this part of the keyboard where reeds are strong enough on low keys.
This video is three years old. I believe it’s in the process of restoration now. Remember, it’s still is as it was when Cavaille Coll built it in 1890. I think it’s held up well.
I don’t think there is a restauration in process. There was a discussion with the organist in novembre but he was telling me that everybody (organ factories) are afraid of touching this instrument.
Wash the key’s please that is really gross. Soap and water works wonders, just moisten a rag with soap and scrub. I would hate to see what is under the pedals!
What a stupid remark. The colouration only represents the huge amount of use the ivory keys have received over the years. It is not a case of ' soap and water'.
@@acemannotsomeother Yes, stupid and ignorant comment. The keys were damaged by a water leak in St Ouen. Washing them with yet more water will do absolutely nothing.
@@Michael_VG I have spent many an hour on the bench and have seen enough dirty keys. As to water damage I was unaware of the damage. Washing would do no further harm.
You certainly have a right to your opinion. It does beg the question, "What are some examples of 'above average performances' that meet your standard of excellence?" Please share the links, I would love to hear them! It seems your definition of average is: 1) playing by memory, 2) playing note perfect (or very nearly so), 3) choosing and maintaining an appropriate tempo, 4) executing registration changes flawlessly, all while having hands and feet full of notes! OK, then I would LOVE to give an "average" performance of this and a lot of other pieces! That would be a dream come true!
