Just shatteringly brillent, again, so clean and crisp, never heard this too played so stunningly - again, BRAVO and thank you, you, Dupré and that CC just made my entire decade…..Admiration and love, Adrian in Bermuda ❤️☺️☺️☺️☺️☺️☺️☺️
You're welcome! I hope you like watching the score along. I personally think this is the best-recorded interpretation of the toccata. I don't understand why Duruflé hated it!
@@julianmatthews5785 You know I like it, since I always try to add the score when possible. Certainly on of the best performances. Comparing to Duruflé's vocal pieces, this is a very different piece, maybe that's why he hated it, maybe he didn't recognize his own basic idea's in it. Just guessing.
Excellent and unique performance, with some "perfect imperfections" reminding us of the truly human touch often lost in studio recordings, and some very ominous bells at 4:02 miraculously in tune with the music.
With the exception of the bells, this is an amazing performance of Duruflé's Tocatta. Fiery and incredible drive, with clean articulation & phrasing. I still find in puzzling why MD really disliked/despised this particular movement and refused to record it. His wife Marie-Madeline loved it.
The reason for this is two-fold; 1) Duruflé was almost masochistically self-critical, hence his low composition-output. 2) He did not like the theme he had come up with for the toccata
I have been bingeing big Romantic organ pieces for the past several months, and I have concluded that this particular recording is by far my favorite of everything I've listened to thus far. There's a frenetic "human-ness" in Dubois's interpretation that I just love.
6:47 Durufle: now that the organist fingers are ready to fall off, let's change the key signature to 5 sharps and in a few measures make every note an accidental
I loved this performance. Thank you for posting the score (I do have the sheet music myself but i don't think I'll be learning it any time soon). It's insanely difficult - although if you have patience to break it down into very small chunks I suppose it can be learnt. What I did feel was that I was more aware of some of th subtler moments which is really nice.
@@julianmatthews5785 Okay. No offense. I know that the scores for French music are quite expensive, so I couldn't find these anywhere for free. Well, except P2P ;-)
One of my organ teachers told me that when Duruflé did a workshop on his compositions, he was asked what he thought about the Toccata and he said something along the lines that he really didn't like it or think it was great.
@@julianmatthews5785I love your take on this! It's totally OK for one person to hate it, even the composer, and for another to love it. We totally do not need to unify music preference!! Hearing you play this piece has a good effect on me, and I'm certain that hearing it live would have an even greater good effect. Surely that makes it good already! Thanks for your great performance.
franchement les pubs au pleins milieu d’une œuvre c’est détestables et à mon avis contraire au droit a l’intégrité de l’oeuvre de l’auteur ! et surtout ça gâche tout le plaisir
@@julianmatthews5785 Sorry for the late response, but what makes me think its similar to Bach's piece is the part from 1:14 - 2:53 in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ho9rZjlsyYY.html&ab_channel=MovieMongerHZ
There is something about this performance that feels unsettling. I have heard lots of performances of this work and somehow this one doesn't meet those other performances. Dubois is excellent, but it lacks a soul.
I’m sorry but i totally disagree, this is probably my favourite recording of this piece that’s why I chose it!What makes you think it doesn’t have a soul?!
I agree to disagree. Let me point out my ideas to show that this performance is outstanding: if organists play exactly as written, which is already an almost impossible challenge, usually follow the mechanical idea of the toccata, resulting in the menacing and fiery flamboyance that we expect from such a score. The unsettling feeling probably comes from the music rather than from the performace, but the artist shows his interpretation in rather sparse points, often unwritten or implied in the score: you may not feel it but Dubois manages to play the inner F#-G from 0:43 like a trill rather than like a measured sextuplet; the entrance of the second theme at 2:35 is prepared and proposed with a very slight rit.-rubato; The ending from 7:46 trashes the tempo ending in a furious ride taking the "senza rall." as "Go nuts!" signal. I pointed out something about tempos, but there are many aspects of interpretation about registration, intention and rhythmic drive that are not so commonplace.
I may understand a little what’s the unsettling feeling’s about because this version absolutely puts me to feel the composer’s shadows such as fears and agonies. Besides it’s a known fact that the composer hated the piece himself. It’s certainly not a comfortable place to be for straight 8 minutes, and if it put you to feel it to the extreme like the performer does, your unsettling feeling is totally justified ✨ and at the same time id it’s the case it’d be a huge compliment for the performer.. Anyways, my standpoint..!
@@Whatismusic123 I figured that you'd be of the more narrow-minded conservative type, but the inclusion of Scriabin positively surprises me, or are we just talking about early Scriabin?
@@mrtchaikovsky late scriabin. Scriabin is included, because unlike modern composers, he actually makes music. The reason this piece in the video in particular is "garbage noise" is not because I dislike *how* it sounds per se, but rather how poorly it is executed as a musical piece and how lacking it is in any long form coherency. You may aswell bang on your keyboard, as it has the same musical value.
@@Whatismusic123 You have no right to say this masterpiece is the same as banging the keyboard, durufle was very self critital and it because people like you who openly hate on this that most of his works never saw the light of day. He worked his entire life on this toccata, kept coming back to improve it. same with many of his other pieces.