C'est un vrai bonheur que d'entendre ce P&F de Duruflé aussi bien interprété et registré, tant dans la fugue que dans le prélude: lisibilité parfaite du prélude oû trop souvent les triolets de croches sont noyés, couleurs, variété... et cet orgue!
Magnifique pièce émouvante à plus d’un titre : Maurice DURUFLÉ qui fut professeur de ma tante Francoise RENET. Jehan ALAIN, l’un de mes grands anciens de l’Ecole de Cavalerie à Saumur, tombé au champ d’honneur. Et ma tante qui joua si souvent cette pièce à Saint Sulpice.
Merci Clement pour ce magnifique concert à l'orgue 😀 ! Très bonne soirée et à bientôt s. Amicalement. François. Je m'abonne à votre chaine que je découvre avec plaisir
Such a compelling piece, written by MD to honour his fallen friend JA. One can only wonder what JA would have achieved had he lived longer than his 29 years. Sarah Soularue who studied under MD in the 1970's gives a wonderful performance on this heroic CC organ, which both JA and MD would have been familiar with. One cannot fail to be moved by the performance. I only hope that one day I may have the opportunity to hear this organ at first hand. Live performance on this instrumental appears very rare.
Yes, St Ouen's organ is wonderful; some say the finest that Cavaille-Coll built. I especially like the 32ft stops in this piece - and in every recording I have heard of this wonderful instrument. It's heartbreaking that I lived for six years in France without visiting St Ouen.
This magnificent Organ was built the same year (1889) as St. Sernin of Toulouse. They were considered Cavaille-Coll's first genuine "Symphonic" Instruments. These two organs were also the advent of the use of the horizontal Spanish reeds (Chamades). According to the biography of Aristide Cavaille-Coll, it was ostensibly because of the height of St. Ouen's Nave and the length of St. Sernin's Nave so it took enormous pipe scaling and power to fill the vast volume of the Churches space.The Chamades increased the tutti significantly. I have heard both of these organs and they are magnificent, powerful and tonally perfect.
I will never stop getting goosebumps when hearing the flawless tutti of the organ in St. Ouen. Only a bummer that in many recordings the lowest C of the 32' bombarde doesn't speak well, but it seems that in more recent recordings it has been restored to speak again in full rumbling but consonant power!
@@multimapping8303 There was a recording of the Cortege & Litanie by Marcel Dupre on the St. Ouen Cavaille-Coll organ about 20 to 25 years ago. I bought it at St. Ouen. When I heard the organ on that visit, in person, I must say it is the most astonishing 32' reed I have ever heard.With the Tutti, it simply rivets the listener. There is another recording of Gillian Weir on the St. Ouen instrument, of the Dieu Parmi Nous by Olivier Meesaien, which showcases the Tutti and pedal Bombarde very well. It is also on TH-cam. The St. Ouen reed is right up there with Notre Dame de Paris and the former Aeolian-Skinner Contre Bombarde of St. Thomas Church in NYC before the instrument was tonally wrecked by another builder. That organ was tonally finished by G. Donald Harrison himself for the AGO convention in 1956.
@@michaelschantz6708 That's really interesting, thank you. In my opinion the St. Ouen contre bombarde surpasses the one of the Notre Dame. I have never heard the one in NYC, but I have heard a recording of a demonstration where you can hear it, but the lower octave was unable to play I believe. Not sure if that is the same one though.
Deze prachtige weergave laat maar weer eens duidelijk horen hoe fantastisch dit instrument is dat Aristide Cavaillé Coll heeft gemaakt. Misschien wel het beste orgel ooit dat hij heeft achtergelaten. Het werk van Maurice Duruflé wordt op voortreffelijke wijze gespeeld. Mijn complimenten!
Magistrale interprétation jusqu'à ce "couac" à 7 : 51 où le talent de l'organiste semble, à l'écoute, avoir été compromis par les assistants de registration. En effet, une élève de Marie-Madeleine Duruflé n'aurait jamais eu l'idée de s'écarter du texte et des indications de registrations. Du coup, on ressort frustrée de ce qu'on aurait dû entendre et qui a perturbé toute la progression jusqu' à "l'impérieuse et grandiose péroraison" (que c'est pompeux....). Enfin, "l'exemple le plus achevé du genre prélude et fugue" n'est bien entendu qu'à trouver dans les dyptiques de Bach. Le grand prélude et fugue en mi mineur notamment. S'agissant de Marcel Dupré, opus 7 bien sûr, œuvre de jeunesse très novatrice (avec une fugue expressive) mais les préludes et fugues op 36, composés bien plus tard offrent également des modèles extrêmement aboutis (la bémol majeur en particulier). Dans cette vidéo, le triomphe revient assurément au grand Cavaillé Coll.
@@rrkdudas6848 every part is beautiful, I think that certain part is bit more magical because of that registration. I love every second of this recording
Un grand plaisir d'entendre ce magnifique Prélude et Fugue sur ce magnifique instrument. Mais je ne partage pas la registration choisie pour la Fugue, en effet étrange et hors propos.
I would love to know too. I hear low audio quality, but it sounds like an excellent recording, so a file with high audio quality must be somewhere? I have been searching the internet for quite some time now, I'd gladly pay some for a high quality file or a CD.
The organist is Sarah Solarue, American born but long-time resident in France , who studied with both Maurice and Marie-Madeleine Duruflé. The (French) note about the piece is written by her husband who was also a Duruflé student
C'est un vrai bonheur que d'entendre ce P&F de Duruflé aussi bien interprété et registré, tant dans la fugue que dans le prélude: lisibilité parfaite du prélude oû trop souvent les triolets de croches sont noyés, couleurs, variété... et cet orgue!
Magnifique pièce émouvante à plus d’un titre : Maurice DURUFLÉ qui fut professeur de ma tante Francoise RENET. Jehan ALAIN, l’un de mes grands anciens de l’Ecole de Cavalerie à Saumur, tombé au champ d’honneur. Et ma tante qui joua si souvent cette pièce à Saint Sulpice.
Merci Clement pour ce magnifique concert à l'orgue 😀 ! Très bonne soirée et à bientôt s. Amicalement. François. Je m'abonne à votre chaine que je découvre avec plaisir
Such a compelling piece, written by MD to honour his fallen friend JA. One can only wonder what JA would have achieved had he lived longer than his 29 years. Sarah Soularue who studied under MD in the 1970's gives a wonderful performance on this heroic CC organ, which both JA and MD would have been familiar with. One cannot fail to be moved by the performance. I only hope that one day I may have the opportunity to hear this organ at first hand. Live performance on this instrumental appears very rare.
6:07 the beautiful 8' Foundations
Is there a better way to honor a man like this ?
This Fugue has been called "the most beautiful organ piece not written by Bach"...
I absolutely become lost in his music. I love it!
Maurice was surely enjoying this in Heaven!
Although I don't like the registration at some parts its a great recording. St. Ouen always makes a piece better than its ever been
Yes, St Ouen's organ is wonderful; some say the finest that Cavaille-Coll built. I especially like the 32ft stops in this piece - and in every recording I have heard of this wonderful instrument. It's heartbreaking that I lived for six years in France without visiting St Ouen.
Shame on you! Really?
@@wilhakkaart5116 I was nearly 400 miles away and the one time I was scheduled to go, my car packed up!
Widor, after writing his Symphonie Gothique to commemorate the instrument''s installation, exclaimed: 'Michaelangelo.'
This magnificent Organ was built the same year (1889) as St. Sernin of Toulouse. They were considered Cavaille-Coll's first genuine "Symphonic" Instruments. These two organs were also the advent of the use of the horizontal Spanish reeds (Chamades). According to the biography of Aristide Cavaille-Coll, it was ostensibly because of the height of St. Ouen's Nave and the length of St. Sernin's Nave so it took enormous pipe scaling and power to fill the vast volume of the Churches space.The Chamades increased the tutti significantly. I have heard both of these organs and they are magnificent, powerful and tonally perfect.
I will never stop getting goosebumps when hearing the flawless tutti of the organ in St. Ouen. Only a bummer that in many recordings the lowest C of the 32' bombarde doesn't speak well, but it seems that in more recent recordings it has been restored to speak again in full rumbling but consonant power!
@@multimapping8303 There was a recording of the Cortege & Litanie by Marcel Dupre on the St. Ouen Cavaille-Coll organ about 20 to 25 years ago. I bought it at St. Ouen. When I heard the organ on that visit, in person, I must say it is the most astonishing 32' reed I have ever heard.With the Tutti, it simply rivets the listener. There is another recording of Gillian Weir on the St. Ouen instrument, of the Dieu Parmi Nous by Olivier Meesaien, which showcases the Tutti and pedal Bombarde very well. It is also on TH-cam.
The St. Ouen reed is right up there with Notre Dame de Paris and the former Aeolian-Skinner Contre Bombarde of St. Thomas Church in NYC before the instrument was tonally wrecked by another builder. That organ was tonally finished by G. Donald Harrison himself for the AGO convention in 1956.
@@michaelschantz6708 That's really interesting, thank you. In my opinion the St. Ouen contre bombarde surpasses the one of the Notre Dame. I have never heard the one in NYC, but I have heard a recording of a demonstration where you can hear it, but the lower octave was unable to play I believe. Not sure if that is the same one though.
@Richard Harrold That would be awesome. I could clearly hear the power of the reed in the higher notes on that recording I mentioned earlier.
superb !
Deze prachtige weergave laat maar weer eens duidelijk horen hoe fantastisch dit instrument is dat Aristide Cavaillé Coll heeft gemaakt. Misschien wel het beste orgel ooit dat hij heeft achtergelaten. Het werk van Maurice Duruflé wordt op voortreffelijke wijze gespeeld. Mijn complimenten!
Amazing!
Superb
The most astonishing 32' reed in all of France.
super
Rappel des litanies vers 5:00
Magistrale interprétation jusqu'à ce "couac" à 7 : 51 où le talent de l'organiste semble, à l'écoute, avoir été compromis par les assistants de registration. En effet, une élève de Marie-Madeleine Duruflé n'aurait jamais eu l'idée de s'écarter du texte et des indications de registrations. Du coup, on ressort frustrée de ce qu'on aurait dû entendre et qui a perturbé toute la progression jusqu' à "l'impérieuse et grandiose péroraison" (que c'est pompeux....).
Enfin, "l'exemple le plus achevé du genre prélude et fugue" n'est bien entendu qu'à trouver dans les dyptiques de Bach. Le grand prélude et fugue en mi mineur notamment. S'agissant de Marcel Dupré, opus 7 bien sûr, œuvre de jeunesse très novatrice (avec une fugue expressive) mais les préludes et fugues op 36, composés bien plus tard offrent également des modèles extrêmement aboutis (la bémol majeur en particulier).
Dans cette vidéo, le triomphe revient assurément au grand Cavaillé Coll.
Que c'est agaçant de lire de tels propos péremptoires. Savez-vous donc ce qu'est la Musique ? La modestie assurément non.
Cor de nuit de St Ouen
9:09
Guy with perfect pitch:
Me: tell all the notes
@@rrkdudas6848 every part is beautiful, I think that certain part is bit more magical because of that registration. I love every second of this recording
It is great
Un grand plaisir d'entendre ce magnifique Prélude et Fugue sur ce magnifique instrument.
Mais je ne partage pas la registration choisie pour la Fugue, en effet étrange et hors propos.
+Kepler Gso
En effet, on peut le trouver inimaginatif.
May I know some detail on the CD?... Publishing label / catalogue number?... Thank you!
this was a live concert.
@@TheJohn1567 who played?
@Richard Harrold I think they Haven changed the description later, earlier it did not say it, but thanks
I would love to know too. I hear low audio quality, but it sounds like an excellent recording, so a file with high audio quality must be somewhere? I have been searching the internet for quite some time now, I'd gladly pay some for a high quality file or a CD.
Who's Playing?
+Ward Brooks
Good question.
Sarah Soularue, perhaps).
Hit the arrow on the top right hand corner and it tells you Sara Soularue, plus some insightful information about the piece.
The organist is Sarah Solarue, American born but long-time resident in France , who studied with both Maurice and Marie-Madeleine Duruflé. The (French) note about the piece is written by her husband who was also a Duruflé student