É tutta la vita che ascolto questo brano intriso di misticismo. Questo organista ha interpretato Cesar Franck in modo sublimamente originale, come ho sempre desiderato, anche perché esso accompagna i miei ricordi sin dalla piú tenera etá. Sono commosso e molto ammirato da questa stupenda performance.
Toute la tendresse, le mysticisme et la légendaire bienveillance du "Bon Père FRANCK", tel que le surnommaient certains de ses contemporains, se trouvent réunis dans cette très belle ! Vincent DUBOIS nous invite ici, merveilleusement, à partager cette belle invocation !
La conduite des voix et des enchaînements harmoniques est magnifique, notamment grâce à ce merveilleux rubato qui est la marque de l'interprétation de Vincent DUBOIS, aujourd'hui organiste de Notre Dame de Paris avec ses confrères.
I love the freedom of Vincent's interpretation. It represents the ecstasy of prayer. I've been a fan of VD since hearing him improvise on 'assigned themes': a hymn tune and a cell phone ring tone!
Ongelooflijk diepgaande muziek die me elke keer weer emotioneert. César Franck had een gave die door GOD aan hem was geschonken. Hij heeft die gave in zijn leven volledig benut al werd een noodlottig ongeval hem voortijdig fataal. Vincent Dubois heeft ook grote talenten, hij is een virtuoos. Complimenten!
Dire que des ânes ont craché sur l'orgue de Soissons ! ! Quand on écoute cet instrument dans Franck, notamment, on est au ciel. La poésie de cet orgue s'allie à merveille avec la poésie de l'interprétation.
Cela me rappelle les interprétations de Marchal à St Eustache (années 50), à l'époque où cet orgue était très Gonzalez et très peu Merklin ou Rinckenbach. Marchal avait su tirer parti de la "légèreté" de pas mal de jeux (fonds et anches), et ramené son très grand orgue aux dimensions de celui de Ste Clotilde. Ici, on peut dire que Vincent Dubois sait tirer parti de son orgue, ce qui n'est pas étonnant. Évidemment, Gonzalez étant soumis aux diktats des années 50, pas question de mettre une gambe aux grands claviers, donc le fond d'orgue manque un peu de "mordant" au début, et Vincent Dubois n'y peut rien. Mais ce n'est pas grave.
@@Airy59 On a quand même un Diapason au GO, en plus de la Montre et du Bourdon, et un Salicional au POS. Une composition exceptionnelle pour un néo-classique avec de si nombreux 8', dont une Flûte harmonique ! C'est une bonne chose que, finalement, cet orgue soit gardé et restauré après la tornade où son sort était incertain.
Secondly, there are also many passages in Franck's works (especially in the 2nd Choral, Fantasie in A, etc) where the pedal duplicates the lowermost voice of the left hand. Since the manuals are coupled to the pedal, it is somewhat redundant to play the left hand voice, and makes performing these passages much easier!
He re-registered the ending from a trumpet dominated swell solo with uncoupled foundation/pedal accompaniment to a coupled great foundation solo with swell accompaniment. This works out fine on his organ, particularly if you don't miss the logic of ending with the swell trumpet solo whose color Franck linked thematically to the earlier recitative sections. Anyway, this is a well thought-out and wonderfully expressive interpretation.
Regarding the previous comments - I do think we have to bear in the mind that Franck himself was blessed with particularly large hands - and therefore many of us today prefer to play the lower voice on the pedals. Although I have no authority to refer to - it seems likely that Franck bore this in mind, as the pedal voice remains silent through this opening passage (as in the opening of the 1st Choral). Therefore perhaps he was aware that not all organists had his handspan!
dunno if you guys gives a damn but if you are stoned like me during the covid times you can stream all of the latest movies on InstaFlixxer. Have been watching with my brother lately xD
@organboi I beg to differ on your interpretation of the score wrt playing the pedals-if Franck wanted to play with the pedalboard @ that point he would have put it on the score . Franck was virtuoso organist and by the time he wrote these last 12 pieces down he knew what he wanted. I play the pieces as written although one is free to interpret the pieces as they feel like it. As for the manner that this piece is played, it is a very good interpretation - one of my favotire in fact.
We might note that this instrument was heavily damaged by debris from the rose window as the result of a flash storm. So tragic. A work of art from the V&F Gonzalez builders of great organs. The Durufles favored this instrument and even recorded upon it.
Caro organboi, o si è in musica o fuori dalla musica, o si comunica o non si comunica, o si va a metronomo o si emoziona, Vincent è "in"......,"in toto"..., Grande Vincent come altri esponenti scuola francese, Latry ad esempio...."irregolare?"....., "pedale all'inizio"?.....
The tempo is erratic. And the opening was too stodgy due to his refusal to use the pedals. There is no reason not to use the pedals. Franck intended them to be used. He just didn't feel like writing them out because all five voices were the same registration.
Yes it is not prohibited to use the pedal at the opening, ok, but no, you cannot tell that Franck "intended to use them", where is it "intended" on the sheet? Else he would have wrote the opening bass on the pedal (you just cannot say "he didn't feel like writing them out", unless you were sitting next to him when he wrote the score maybe?). Also this is well known that Franck had very tall hands, so obviously he did himself play all the opening fully manualiter. Also and this is very important to notice, at some other points later in this piece there are the same widths to play with the left hand, so if you just can't play fully manualiter the opening, there is no way to play the rest.
This is the most beautiful performance imaginable.
Voilà quelqu'un qui sait chanter à l'orgue. Bravissimo et un grand merci pour l'excellente prise sonore
É tutta la vita che ascolto questo brano intriso di misticismo. Questo organista ha interpretato Cesar Franck in modo sublimamente originale, come ho sempre desiderato, anche perché esso accompagna i miei ricordi sin dalla piú tenera etá. Sono commosso e molto ammirato da questa stupenda performance.
Toute la tendresse, le mysticisme et la légendaire bienveillance du "Bon Père FRANCK", tel que le surnommaient certains de ses contemporains, se trouvent réunis dans cette très belle !
Vincent DUBOIS nous invite ici, merveilleusement, à partager cette belle invocation !
Grandissimo artista!!! Spirituale e Perfetto! Grazie!
A wonderful inspiring performance - and all from memory. Thanks for posting
Veramente bravo. Si intuisce la grande passione che l’organista nutre per questo brano divino.. grazie
a real musician, he has a wonderful aesthetic sense and a deep understanding of the music he plays
La conduite des voix et des enchaînements harmoniques est magnifique, notamment grâce à ce merveilleux rubato qui est la marque de l'interprétation de Vincent DUBOIS, aujourd'hui organiste de Notre Dame de Paris avec ses confrères.
This is a Masterful piece. You can see the music flow from within onto the keyboards. Wonderful.
Excellent! A real master of his art. There are organ players and there are organists. He is a true organist :o)
I love the freedom of Vincent's interpretation. It represents the ecstasy of prayer.
I've been a fan of VD since hearing him improvise on 'assigned themes': a hymn tune and a cell phone ring tone!
very expressive and profound, Franck would be pleased with this performance!
Thank you. I had not heard this Franck before -- it is very beautiful.
Very movingly played. Thank you for sharing this with us.
Sublime, sublime! I just dig an organist who takes his time! Love those harmonic flutes also! Bravissimo!!
Agreed - except that most flutes are not harmonic. These were taboo under the so-called "neo-classic" school of organ building...
Effortless playing, beautiful legato line.It is one of Franck's most difficult works and it is played here so beautifully.
Yes...it is a most important work, which was dedicated to Franck's teacher Benoit. He poured his heart and soul into this profound composition.
Beautiful performance!
Wonderfully spiritual music. Elegant, classy performance.
Amazing. Thanks for sharing
Beautiful!
Magnificent. Absolute mastery.
Sublime. Meraviglioso. Fantastic.
Bravo!
A beautiful performance.
Ongelooflijk diepgaande muziek die me elke keer weer emotioneert.
César Franck had een gave die door GOD aan hem was geschonken. Hij heeft die gave in zijn leven volledig benut al werd een noodlottig ongeval hem voortijdig fataal.
Vincent Dubois heeft ook grote talenten, hij is een virtuoos.
Complimenten!
Dire que des ânes ont craché sur l'orgue de Soissons ! ! Quand on écoute cet instrument dans Franck, notamment, on est au ciel. La poésie de cet orgue s'allie à merveille avec la poésie de l'interprétation.
Cela me rappelle les interprétations de Marchal à St Eustache (années 50), à l'époque où cet orgue était très Gonzalez et très peu Merklin ou Rinckenbach. Marchal avait su tirer parti de la "légèreté" de pas mal de jeux (fonds et anches), et ramené son très grand orgue aux dimensions de celui de Ste Clotilde. Ici, on peut dire que Vincent Dubois sait tirer parti de son orgue, ce qui n'est pas étonnant. Évidemment, Gonzalez étant soumis aux diktats des années 50, pas question de mettre une gambe aux grands claviers, donc le fond d'orgue manque un peu de "mordant" au début, et Vincent Dubois n'y peut rien. Mais ce n'est pas grave.
@@Airy59 On a quand même un Diapason au GO, en plus de la Montre et du Bourdon, et un Salicional au POS. Une composition exceptionnelle pour un néo-classique avec de si nombreux 8', dont une Flûte harmonique ! C'est une bonne chose que, finalement, cet orgue soit gardé et restauré après la tornade où son sort était incertain.
@@keplergso8369 Òui, c'est une bonne chose.
Secondly, there are also many passages in Franck's works (especially in the 2nd Choral, Fantasie in A, etc) where the pedal duplicates the lowermost voice of the left hand. Since the manuals are coupled to the pedal, it is somewhat redundant to play the left hand voice, and makes performing these passages much easier!
He re-registered the ending from a trumpet dominated swell solo with uncoupled foundation/pedal accompaniment to a coupled great foundation solo with swell accompaniment. This works out fine on his organ, particularly if you don't miss the logic of ending with the swell trumpet solo whose color Franck linked thematically to the earlier recitative sections. Anyway, this is a well thought-out and wonderfully expressive interpretation.
Absolutely....best I have ever heard since Andre Marchal's!
Stunning performance
oui, une prère authentique...Merci , Vincent Dubois...
Regarding the previous comments - I do think we have to bear in the mind that Franck himself was blessed with particularly large hands - and therefore many of us today prefer to play the lower voice on the pedals. Although I have no authority to refer to - it seems likely that Franck bore this in mind, as the pedal voice remains silent through this opening passage (as in the opening of the 1st Choral). Therefore perhaps he was aware that not all organists had his handspan!
dunno if you guys gives a damn but if you are stoned like me during the covid times you can stream all of the latest movies on InstaFlixxer. Have been watching with my brother lately xD
@Santana Jordy definitely, I have been watching on InstaFlixxer for since december myself :D
ein wahrer Maestro!!!
Each passage can also be used as a manualiter voluntary.
@organboi I beg to differ on your interpretation of the score wrt playing the pedals-if Franck wanted to play with the pedalboard @ that point he would have put it on the score . Franck was virtuoso organist and by the time he wrote these last 12 pieces down he knew what he wanted. I play the pieces as written although one is free to interpret the pieces as they feel like it. As for the manner that this piece is played, it is a very good interpretation - one of my favotire in fact.
There is nothing wrong with using the pedal couplers to relief your hands. Not every body spans a 12th, as Franck reportedly did.
Superbement interprété. Les organistes qui ressentent la musique de Franck ne sont pas si nombreux. L'orgue de Soissons est remarquable.
We might note that this instrument was heavily damaged by debris from the rose window as the result of a flash storm.
So tragic. A work of art from the V&F Gonzalez builders of great organs.
The Durufles favored this instrument and even recorded upon it.
well played, I cant imagine you only have 10 fingers there :-)
Caro organboi, o si è in musica o fuori dalla musica, o si comunica o non si comunica, o si va a metronomo o si emoziona, Vincent è "in"......,"in toto"..., Grande Vincent come altri esponenti scuola francese, Latry ad esempio...."irregolare?"....., "pedale all'inizio"?.....
I agree with you but please be autonome, don't make photocopies!
The tempo is erratic. And the opening was too stodgy due to his refusal to use the pedals. There is no reason not to use the pedals. Franck intended them to be used. He just didn't feel like writing them out because all five voices were the same registration.
Yes it is not prohibited to use the pedal at the opening, ok, but no, you cannot tell that Franck "intended to use them", where is it "intended" on the sheet? Else he would have wrote the opening bass on the pedal (you just cannot say "he didn't feel like writing them out", unless you were sitting next to him when he wrote the score maybe?). Also this is well known that Franck had very tall hands, so obviously he did himself play all the opening fully manualiter.
Also and this is very important to notice, at some other points later in this piece there are the same widths to play with the left hand, so if you just can't play fully manualiter the opening, there is no way to play the rest.
We are waiting your interpretation...