Amici della musica ,vorrei correggere ciò che qualcuno ha riferito ,il preludio e fuga non e' una canzone ma una composizione per organo solo, fa ' parte quindi di musica classica .
This is one of the most beautiful Bach organ pieces that I have heard. It certainly uplifts the spirit. The syncopation in the bass line in the fugue is superb. J.S.B. was a true genius.
👍 yes, I agree that Bach was a true genius for all times. When you compare classic music to the junk you hear today …it is sometimes , disgraceful. We need a 2022 renaissance with gifted young students to see, hear, learn about other aspects of what pure creative genius is all about. It is nice to hear good organists interpret what the composer really had in mind. I 🤔 many organists today play too fast. You don’t have to play the “ Toccata “ like an acrobat to prove your skill. Listen to others how they play too. I myself am a creative professional painter basically self taught. That includes piano , organ and teaching as well. And although, I was never interested in becoming a concert pianist or organist I listen too many of them play and like.the organist I listened too today. Surprisingly good. We are all individuals made in the image and likeness of God, but at the same time we can all listen and learn from each other,
@@alexandergavalas1398 Alexander -- for a more measured performance of the Dorian at a markedly slower tempo in both toccata and fugue, listen to Angela Metzger.
Listening to Bach inspired me to compose for organ. Makes one wonder how much of his works are still out there just waiting to be found. If they still exist, that is.
The Toccata from this concerto is a MASTERPIECE, certainly one of the Top 5 best organ pieces ever written. This is a brilliant performance of it too, and the scrolling music really helps demand respect for all the simultaneous music being played. The organist is effectively playing trio parts at all times.
I'm glad you enjoyed it! Thanks for posting too. I always look forward to your insights and opinions of Chapuis. I just love his usage of sounds in the Fugue. The "reeds" in the treble at 8:45 sound so wonderful.
I tell people that it is my favorite fugue to perform because it opens like a beautiful rose if you play it with depth and breath in the phrase. I also love the toccata because it displays different parts of the organ at different times, and it's fun to WATCH me move like a bat out of hell until the fugue.
@Ger Dik maybe coz of their rock taste they didn't like the way the notes "clash" together since the difference is just a semitone i personally love rock music tho, but classical & barouque gives me the nostalgia and the beauty of true music...my dad introduced both genres and listening to the songs & pieces he liked is how i appreciate it
@@thebornana2468 The semitone dissonance when placed properly is one of the most gorgeous sounds that can be. Organ works are all about dissonance and consonance playing together, the most clashy sounding dissonances, sounds that are at war with eachother, contrasted with consonances, major chords with lots of notes and registers that just sound magnificent
THIS... IS... *LEGENDARY* Edit: I must say that both the Toccata and Fugue are absolutely and most undeniably amazing! But I have to express my thoughts on the fugue. This is probably the most beautifully written and most well developed theme for this fugue in my opinion. This is by far my personal favourite fugue of all his fugues!
After listening to most of Bach's great works for over 60 year, I think this may be my favorite. It's simplisity and archytipal beauty played so well, I thank you, all of you for this post. Sincerely. This truely is a treasure beyond compare. CVD
What I love about the Dorian fugue is how Bach appeared to have no idea how to end it. Either that, or he just ran out of gas. So we get a set of simple block chords parachuting into the ending. I can also visualize Bach laughing about it.
Funny thing is that the entirety of the final five and a half bars are actually all chord I. The pedal point in the bass proves this; you can have a pedal point D like we do here and do effectively whatever on top. So the final V-I and tierce de Piccady actually happens in the sixth last bar, and the rest is just a really prolonged decoration of the final chord V. I don't know if this goes against what you're saying or really just backs it up even more, to be honest "crap don't want to end like that, whatever let's just make my final I go forever and put block chords on top to make it sound like things are happening yeah she'll be right" EDIT: Just realised I was talking only about the toccata, not the fugue, sorry
He probably had to rush because one of his 30 sons shit his pants again and his wife was already stressed enough. Just kidding, and sorry, Bach ;) I think the transition into those block chords is smooth though, fits well together, but it might just end a little too quickly there all of the sudden.
Not saying this isn't absolute genius but if we're talking the most intellectually elevated music, bach doesn't come close to the insanity composers like Milton Babbitt and Iannis Xenakis worked with and implemented in their music regularly. I'm not saying you have to like their music because of this (Xenakis himself said that the intellectual appeal will only give you so much), but again if we're talking intellectuality, contemporary classical is on top.
@@jimit.4220 No. What Babbitt and xenakis do is stupid, not intellectual. Music without beauty is worthless and senseless, for something to be intellectual it has to be done with purpose and quality.
@@jimit.4220 I dunno man. Thy works are not as enjoyable, beautiful, with such a developed aesthetic as Bach. Seems that the creme de la creme of music from all history regarding polyphony came to its peak with Johann Sebastian, in the organ and keyboard works. And if Xenakis says it's the greatest, why should we believe him? I personally don't. Contemporary music is just random notes with no beauty or appeal
+Ruben Francisco Brett I dunno what it is about the toccata..its just so awesome. The bassline is just amazing and powerful. And I love how he jumps octaves every so often
I am amazed, how contemporary the Toccata sounds: a fancy riff goes non-stop throughout the piece, a more free-form melody goes above it with a limited dose of dissonances, all voices pass initiative to each other without ever breaking the beat, dotted bass will come in like a special effect; at 4'04'' the track is put to loop for 1 1/2 measures before resolving into bass-supported phrase; the piece ends with a very explicit brake pulls.
The fancy riff idea is what is known as a "germ motif", and wasn't all that uncommon at the time. Basically like a germ, the rest sprouts from it. However yeah a surprising amount of Bach realld does hold up to this day, although I guess effectively founding Western harmony kind of helps with that hahaha
Robert Gift Thanks very muc for this explanation of the sigificants of he blue highlighted time mark. I didnt know abut the link feature to the actual video
Toccata is such a joy! Noone can use such radical dissonances as masterfully as the Master himself! And then the fugue! One of the most dramatic, beautiful fugue themes ever created...
The parts are very clear in this version. That, plus the scrolling score, allows lesser mortals like me to almost understand what makes this music so great. Thank you.
I downloaded this MUSIC on MY Phone to listen to it while im running And idk why but through all the toccata i imagine that i play it on Electric organ in my school and everyone around me is so impressed lol
Nick, thanks for your postings! Besides all the graphics & animating, audio selection for presentations is just as tough. Bach left us with limited expression/tempo markings in his masterpieces. And even if he did elaborate more on tempos, dynamics & articulations there is, also, the issue of modern or period instruments too! In a nutshell, one's taste will always be questioned or not agreed with. Hopefully this will inspire others to learn this art and post other renditions of Bach.
You know what I love about this organist? He plays the whole trill at 1:40 and does so at a good speed too. Just goes to prove that most organists who stop short, as if it were impossible to play, are just cheating themselves out of a challenge.
Me: Mom, can we have Toccata and Fugue in D minor? Mom: No, we already have Toccata and fugue in D minor at home Toccata and Fugue in D minor at home: This is just a joke, I still love this piece XD
With seriousness, this is easily the more accomplished work between the two. The more famous one is likely an improvisation by him jotted down by one of his students, or in the eyes of the more 'ambitious', it's not even *by* him but a transcription of a solo violin work by another composer. Wikipedia has quite a lot to say about that piece. I second Christoph Wolff - it is a non-issue. The academic snobbery behind Bach is astounding these days, questioning the authorship of a work when something doesn't display the quasi-miraculous contrapuntal prowess he was usually known for.
@@dedede5586 yep, is it theorised by many Bach scholars that the famous BWV 565 wasn't written by him and I can believe it wasn't, although it could've been of course!
It's funny, I can understand why the other Toccata and Fugue doesn't sound like bach, but it also does. The pedal note fugue subject reminds me of his A Minor fugue for organ. The sequences and chord progressions are also very Bach. But it does sound more immature than his later works. Like a frenzied improvisation full of cliches. Gould used to say a lot of his earlier pieces were like that, check out the fugue on the name B-A-C-H for something kind of in the same spirit - very improvisational, cliche chord progressions, a style that almost sounds more like Handel than Bach. I think it was probably by him, from his earlier days, but it also wouldn't surprise me if it was a transcription of somebody else.
The 13 people who gave this thumbs down have no souls. There is more music in this piece than many musicians manage in a lifetime. When people talk about towering geniuses, they are talking about the likes of JS Bach.
La plus belle œuvre en contrepoint du répertoire de l orgue qui s'entend plutôt après la Toccata au niveau de la fugue (contra Punto). La difficulté est présente du début jusqu'à la fin. Le thème et le contre thème se répondent d'une manière égale. Les combinaisons sont appropriées, vraiment très belle œuvre du Maestro Johann Sebastian Bach à jamais égalé. Dixit Buxtehude.D.😉👍
I think it's fairly unusual for a self-contained piece of this era to end on a minor chord. A striking example of one which does is the other, more famous D minor toccata and fugue BWV 565 and that is one of its features (one of many) which has given doubts in the minds of some scholars to Bach's authorship of it (unlike this piece).
Well, one of my professors always says "bach called the bass the second melody" lol. But if you want another composer with great basslines, check out Guilmant's organ works, or really any of the great romantic organ composers.
Oh Gosh, oh golly, oh WOW! In 1986 I was totally "kidnapped" by this score (thanks Marie-Claire Alain) forthe first time, but even now, while hearing that "inlassable mouvement d'acier" (like the sixth movement of the quartet pour la fin du temps by O. Messiaen) I perceive a sense of thrill: how will those phrasing intricacies be handled in terms of legato and staccato? How will frenzy and majesty mix and melt into a towering building? Michel Chapuis gives a very convincing synthesis.
There are so many gems that linger in Bach's treasure chest. I'll do my best to exhibit them all for you to enjoy you "Aussie Boxing Composer"! (KA-POW!).
I love this piece and Michel Chapuis' interpretation of it. Unfortunately this is a transcription from an LP, possibly via a CD re-issue and the sound is quite degraded. The LP original, which I bought when it came out in the 70's, is crystal clear. For those who prefer a more relaxed tempo in the prelude (tocatta), there's a very nice version to be found here on CZcams by the late, great Marie-Claire Alain.
You lost 50 subscribers?! Yikes. I can't believe people are like that. That video was totally cool. I heard the Emerson Quartet and yes, thanks to your suggestion, I'll be using them (just bought the 'used' CD now). Zoltan Kocsis' (piano) recording will also be used on a couple of tracks (the animation will contain both full 4-part scoring and piano reduction so I'll want to present both versions).
Love that Michel Chapuis continues the trill at 1:42 the wholength of the note. Many organists disappointingly do not. Perfectempo! Love the added trill at 2:44. I never thought of doing that. Wish the unsteady wind problem were corrected. Especially noticeable at 6:16 . 7:56 I trill the Bb at the end of the fugue subject. 9:01 G 9:32 D 10:06 A. 11:07 trill the high C 11:21 and E in the pedal Wonderful performance by organist Michel Chapuis!
What could have been won with a more stable wind? Nothing because a beton hard wind is the death of any vitality of the organ sound. More than that: a dead wind takes the organist an essential element of expression. If the organ doesn't respond to the play, which is most unsatisfactory. With an elastic wind, however, gets the organ sound or the played music an expressiveness that would not be possible otherwise. The wind, which produce the bellows built-in the wind chest, is the worst that can be imagined. Therefore,the most organs in modernistic construction (eg Rieger, Klais etc.) let me completely cold because of their rigid and aggressive wind. Even in the most perfect intonation no expressivity is palpable. And anyway, it is impossible because of historical protection reasons, fundamentally changing the wind system in historical organs,
Romanikant asks: _"What could have been won with a more stable wind?"_ Non fluctuating steady higher notes. The sound of unsteady wind makes the organ sound antique an old-fashioned. A defect which should be corrected. If so historically important, have valves which can close off the wind-steadying devices when one wants the defect.
A lively wind power is not a matter of antiquated organ style but a question of musical sensation horizon. Again, through the incorporation of bumpers, the wind will be not better but worse. Although the wind pressure becomes uniform, but very often remains a nervous trembling of tones when the key pressing and during the playing. The cause lies not only in the design of the bellows, but in the dimensions of the channels, the cells in the wind chest. I would not say this if I had not already frequently experienced myself. And such interventions such as the installation of bumpers in historic organs is generally not possible, as already mentioned for reasons of monument protection. But if you comes from the time of the so-called "Orgelbewegung" , I can very well understand your attitude. This Orgelbewegung is characterized by a number of dogmas, which I will not elaborate on. I, however, see in a lively wind quality no shortage, but a benefit.
Romanikant says: _"A lively wind power is not a matter of antiquated organ style but a question of musical sensation horizon."_ It is a *defect* which was probably too costly to try to correct. But now we can with impact bellows. My "attitude" is from listening as a teenager and disliking notes whose steady pitches are disturbed "bounced" by pedal notes and lower notes.
I agree with StarTrekLivz and Alomoes. The problem, the way I see it, happens when playing at this speed, which I happen to like, one must be absolutely clear with the phrasing, particularly the pedal notes. In short, one has to release the last note of a phrase slightly earlier than written in order to emphise where one phrase ends and where the next phrase begins. Singers learn this early on. Organists don't. So, even when they get all the notes right, it winds up sounding like Shakespeare being read without recognizing any commas or periods. All the notes are there but where's the song? It turns into a runaway freight train barreling down the tracks. Sent with love. CVD
wonderful performance... Unfortunatelly I think microphones was too much near the positive pipes.. So It's not possible to hear a difference sound dynamic from the great organ.
You all should hear the late Robert Noerhen playing this on the organ he built at St John's Cathedral in Milwaukee. Talk about a recording to take if you're stranded on a desert island!
The only thing wrong with this piece is the name "Dorian". If it were truly in the Dorian mode, we should be seeing the 6th degree of the scale as a B natural and not a B flat yet, in the fugue, the subject's only B is the 7th note which is a flat not a natural. I believe the title comes merely from the lack of a B flat in the key signature and not from the notes actually used where B flat is written as an accidental. The toccata is the same.
Das ein Mensch so etwas komponieren und auch noch spielen kann, ist mir unerklärlich. Warum wird das Stück, also der erste Teil, nicht langsamer gespielt. Wäre das nicht eindrucksvoller? Man könnte mehr die Nuancen wahrnehmen. MfG, MS
Bach gave no tempo indications, so it's up to the performer to decide what makes sense, seems best in light of what Bach did write down. About some works there's a general agreement, but some performers will inevitably perform Bach as if he wrote for the Indianapolis 500, others as if he wrote for a funeral cortege. Not a bad thing, I submit. Just think how boring it would be if all performers of a given work kept to within just a few metronome beats of each other. I'm also happy that various organists select various registrations, though here again there seems to be general agreement.
Personally his fugue in gminor just blows my mind. I just think that the presentations of the subject are soo tasteful and musical. It just fits so perfectly everytime
Such matters are purely of personal choice of course. But I was not referring to "favorite" - although I do love this fugue. I was speaking to the technical mastery of the construction. Of all of his great ones, this one stands out: the masterful use of stretto, the counterpoint in the sequences are amazing by themselves, the way the structure is carefully planned with the climax built to perfectly and on and on...
The performer information did NOT include the location or the builder of the organ that Monsieur Chapuis used! Can that deficiency be corrected--PLEASE?
I played this song through headphones on a overnight bus trip from Adelaide to Melbourne in December 2020. Really made the trip really epic.
Amici della musica ,vorrei correggere ciò che qualcuno ha riferito ,il preludio e fuga non e' una canzone ma una composizione per organo solo, fa ' parte quindi di musica classica .
This is one of the most beautiful Bach organ pieces that I have heard. It certainly uplifts the spirit. The syncopation in the bass line in the fugue is superb. J.S.B. was a true genius.
more. the implementation of God on Earth
Bach is not of this world, God Bless Bach
👍 yes, I agree that Bach was a true genius for all times. When you compare classic music to the junk you hear today …it is sometimes , disgraceful. We need a 2022 renaissance with gifted young students to see, hear, learn about other aspects of what pure creative genius is all about. It is nice to hear good organists interpret what the composer really had in mind. I 🤔 many organists today play too fast. You don’t have to play the “ Toccata “ like an acrobat to prove your skill. Listen to others how they play too. I myself am a creative professional painter basically self taught. That includes piano , organ and teaching as well. And although, I was never interested in becoming a concert pianist or organist I listen too many of them play and like.the organist I listened too today. Surprisingly good. We are all individuals made in the image and likeness of God, but at the same time we can all listen and learn from each other,
@@alexandergavalas1398 Alexander -- for a more measured performance of the Dorian at a markedly slower tempo in both toccata and fugue, listen to Angela Metzger.
Thank you for your kind comments Nick. It pleases me to know my channel is appreciated by music lovers like yourself.
This is one of Mankind's greatest achievements in art.
The fugal structure in between 8:10 and 8:45 is unbelievable
I'll have another look/listen; thanks for sharing that.
Listening to Bach inspired me to compose for organ. Makes one wonder how much of his works are still out there just waiting to be found. If they still exist, that is.
538, 542: masterpieces for all eternity
582!
552
548, 543
542 , 565 just the Fugue , 543, 538, 564, 582, and 550
The Toccata from this concerto is a MASTERPIECE, certainly one of the Top 5 best organ pieces ever written. This is a brilliant performance of it too, and the scrolling music really helps demand respect for all the simultaneous music being played. The organist is effectively playing trio parts at all times.
Bach is the best composer in the world...
I'm glad you enjoyed it! Thanks for posting too. I always look forward to your insights and opinions of Chapuis. I just love his usage of sounds in the Fugue. The "reeds" in the treble at 8:45 sound so wonderful.
Am I the only one who at 16 years old has 80% of his tastes in classical music?))
no composer is greater than Bach!
… until Debussy was born… 😁
Fact
Man woke up and started spittin facts
You’re goddamn right
I do agree
I tell people that it is my favorite fugue to perform because it opens like a beautiful rose if you play it with depth and breath in the phrase. I also love the toccata because it displays different parts of the organ at different times, and it's fun to WATCH me move like a bat out of hell until the fugue.
Not a bat out of hell. Nothing hellish about this. More like a flitting hummingbird.
Beginning of measure 11 at 0:49 is a complete tone cluster and I love it
One of the strangest suspensions I know of
@Ger Dik maybe coz of their rock taste they didn't like the way the notes "clash" together since the difference is just a semitone
i personally love rock music tho, but classical & barouque gives me the nostalgia and the beauty of true music...my dad introduced both genres and listening to the songs & pieces he liked is how i appreciate it
@@thebornana2468 The semitone dissonance when placed properly is one of the most gorgeous sounds that can be. Organ works are all about dissonance and consonance playing together, the most clashy sounding dissonances, sounds that are at war with eachother, contrasted with consonances, major chords with lots of notes and registers that just sound magnificent
@@javierdiazsantana damn that's what i thought too
using minor 11 chords 200 years before everyone else
THIS... IS... *LEGENDARY*
Edit: I must say that both the Toccata and Fugue are absolutely and most undeniably amazing! But I have to express my thoughts on the fugue. This is probably the most beautifully written and most well developed theme for this fugue in my opinion. This is by far my personal favourite fugue of all his fugues!
After listening to most of Bach's great works for over 60 year, I think this may be my favorite. It's simplisity and archytipal beauty played so well, I thank you, all of you for this post. Sincerely. This truely is a treasure beyond compare. CVD
What I love about the Dorian fugue is how Bach appeared to have no idea how to end it. Either that, or he just ran out of gas. So we get a set of simple block chords parachuting into the ending. I can also visualize Bach laughing about it.
Funny thing is that the entirety of the final five and a half bars are actually all chord I. The pedal point in the bass proves this; you can have a pedal point D like we do here and do effectively whatever on top. So the final V-I and tierce de Piccady actually happens in the sixth last bar, and the rest is just a really prolonged decoration of the final chord V. I don't know if this goes against what you're saying or really just backs it up even more, to be honest "crap don't want to end like that, whatever let's just make my final I go forever and put block chords on top to make it sound like things are happening yeah she'll be right"
EDIT: Just realised I was talking only about the toccata, not the fugue, sorry
He probably had to rush because one of his 30 sons shit his pants again and his wife was already stressed enough.
Just kidding, and sorry, Bach ;) I think the transition into those block chords is smooth though, fits well together, but it might just end a little too quickly there all of the sudden.
Yeah, I was on a deadline for some church work (like cantatas and shit) so I might have rushed the ending. Judge me!
Johann Sebastian Bach the trouble people go through just to make this joke from the account under Bach’s name ..incel !
That, indeed, would fit Bach's sense of humor.
Michel Chapuis - one of the great luminaries of baroque organ interpretation, and, since he is still living, a musical treasure of France.
This is a freakin masterpiece!! I never thought that I'd fall in love with a fugue this much
I consider this the most intellectually elevated work of music from all the history of mankind
I believe the Passacaglia (BWV 582) outpaces it by a tiny bit.
Not saying this isn't absolute genius but if we're talking the most intellectually elevated music, bach doesn't come close to the insanity composers like Milton Babbitt and Iannis Xenakis worked with and implemented in their music regularly. I'm not saying you have to like their music because of this (Xenakis himself said that the intellectual appeal will only give you so much), but again if we're talking intellectuality, contemporary classical is on top.
@@jimit.4220 No. What Babbitt and xenakis do is stupid, not intellectual.
Music without beauty is worthless and senseless, for something to be intellectual it has to be done with purpose and quality.
@@jimit.4220 I dunno man. Thy works are not as enjoyable, beautiful, with such a developed aesthetic as Bach. Seems that the creme de la creme of music from all history regarding polyphony came to its peak with Johann Sebastian, in the organ and keyboard works. And if Xenakis says it's the greatest, why should we believe him? I personally don't. Contemporary music is just random notes with no beauty or appeal
I think the Toccata is now one of my favorite organ pieces. Although, in reality I have far too many to choose
+MrMansfield Studio The Fugue seems to be largely in Dorian but the Toccata is very chromatic, uses raised sevenths and ends in D major.
+Ruben Francisco Brett I dunno what it is about the toccata..its just so awesome. The bassline is just amazing and powerful. And I love how he jumps octaves every so often
@@TheApostleofRock I know what you mean. I just heard the "Dorian" Toccata on another video and immediately scampered off to find the title.
czcams.com/video/pu981iihWKU/video.html
All Bach pieses is good
I am amazed, how contemporary the Toccata sounds: a fancy riff goes non-stop throughout the piece, a more free-form melody goes above it with a limited dose of dissonances, all voices pass initiative to each other without ever breaking the beat, dotted bass will come in like a special effect; at 4'04'' the track is put to loop for 1 1/2 measures before resolving into bass-supported phrase; the piece ends with a very explicit brake pulls.
^ 4:04 - takes you right to the place.
Robert Gift thanks, though you may miss the idea, when starting exactly at 404.
The fancy riff idea is what is known as a "germ motif", and wasn't all that uncommon at the time. Basically like a germ, the rest sprouts from it. However yeah a surprising amount of Bach realld does hold up to this day, although I guess effectively founding Western harmony kind of helps with that hahaha
Peter Rybin I meanthat if you post the time as " 4:04 " it becomes a link to that place in the recording.
:46 will not link. 0:46 becomes a link.
Robert Gift Thanks very muc for this explanation of the sigificants of he blue highlighted time mark. I didnt know abut the link feature to the actual video
What absolutely beautiful music, beautifully played! I love Bach! 😀🌸💕👍🍀
The toccata is such a crazy thrilling headbanging piece, especially that long Picardy end.
Picardy
@@jr_freiberg tru
Toccata is such a joy! Noone can use such radical dissonances as masterfully as the Master himself! And then the fugue! One of the most dramatic, beautiful fugue themes ever created...
The parts are very clear in this version. That, plus the scrolling score, allows lesser mortals like me to almost understand what makes this music so great. Thank you.
What a lovely warm sounding organ.
I downloaded this MUSIC on MY Phone to listen to it while im running
And idk why but through all the toccata i imagine that i play it on Electric organ in my school and everyone around me is so impressed lol
Bach the grandfather of death metal
LOL!!!
Nick, thanks for your postings! Besides all the graphics & animating, audio selection for presentations is just as tough. Bach left us with limited expression/tempo markings in his masterpieces. And even if he did elaborate more on tempos, dynamics & articulations there is, also, the issue of modern or period instruments too! In a nutshell, one's taste will always be questioned or not agreed with. Hopefully this will inspire others to learn this art and post other renditions of Bach.
Every time I'm looking for a piece by bach and the first video it's by gerubach I get happy
I've always thought this toccata sounded like something Bach made up from a keyboard exercise, to show how almost any theme can be used for a piece.
You know what I love about this organist? He plays the whole trill at 1:40 and does so at a good speed too. Just goes to prove that most organists who stop short, as if it were impossible to play, are just cheating themselves out of a challenge.
And then, he loses it in the next bar...
Love the fugue subject and the suspensions in the bass!
I play this piece on my iPod (A christopher herrick´s version) when running hills. I keeps your body, mind and soul focused and working really hard.
Me: Mom, can we have Toccata and Fugue in D minor?
Mom: No, we already have Toccata and fugue in D minor at home
Toccata and Fugue in D minor at home:
This is just a joke, I still love this piece XD
With seriousness, this is easily the more accomplished work between the two. The more famous one is likely an improvisation by him jotted down by one of his students, or in the eyes of the more 'ambitious', it's not even *by* him but a transcription of a solo violin work by another composer. Wikipedia has quite a lot to say about that piece. I second Christoph Wolff - it is a non-issue. The academic snobbery behind Bach is astounding these days, questioning the authorship of a work when something doesn't display the quasi-miraculous contrapuntal prowess he was usually known for.
@@dedede5586 yep, is it theorised by many Bach scholars that the famous BWV 565 wasn't written by him and I can believe it wasn't, although it could've been of course!
@Moises Badgley begone bot
It's funny, I can understand why the other Toccata and Fugue doesn't sound like bach, but it also does. The pedal note fugue subject reminds me of his A Minor fugue for organ. The sequences and chord progressions are also very Bach. But it does sound more immature than his later works. Like a frenzied improvisation full of cliches. Gould used to say a lot of his earlier pieces were like that, check out the fugue on the name B-A-C-H for something kind of in the same spirit - very improvisational, cliche chord progressions, a style that almost sounds more like Handel than Bach. I think it was probably by him, from his earlier days, but it also wouldn't surprise me if it was a transcription of somebody else.
Bruhh what a cringe joke
Since I was a kid I love it. I had always listen to this on CD till today.
1:42 The trill with the right hand and the eights notes with the same hand made me think about Beethoven or Liszt !!! Waouw!!!
I think Bach had four hands
Josh Putnam He did, his feet were the 2 extra.
No me habia percatado de ese trino con semicorcheas, esta tremendamente difícil!
I think Bach composed that without playing the whole score.
What about a trill in the legs? This must be pretty hard to pull off.
Grandioso, magnánimo, imponente, sublime!!!
Q mas se puede esperar de un Genio unico como Bach...
The Toccata is a genius’s masterpiece!
Magnifique ! Une grande interprétation ! Très beau travail !
The 13 people who gave this thumbs down have no souls. There is more music in this piece than many musicians manage in a lifetime. When people talk about towering geniuses, they are talking about the likes of JS Bach.
One goal of mine is to hear Bach's pieces played in one of Europe's great cathedrals.
La plus belle œuvre en contrepoint du répertoire de l orgue qui s'entend plutôt après la Toccata au niveau de la fugue (contra Punto). La difficulté est présente du début jusqu'à la fin. Le thème et le contre thème se répondent d'une manière égale.
Les combinaisons sont appropriées, vraiment très belle œuvre du Maestro Johann Sebastian Bach à jamais égalé. Dixit Buxtehude.D.😉👍
12:53 i love this resolution
Picardy third hits really hard here
I think it's fairly unusual for a self-contained piece of this era to end on a minor chord.
A striking example of one which does is the other, more famous D minor toccata and fugue BWV 565 and that is one of its features (one of many) which has given doubts in the minds of some scholars to Bach's authorship of it (unlike this piece).
Was there ever another composer who gave the bass lines such equal melodic treatment?
Well, one of my professors always says "bach called the bass the second melody" lol. But if you want another composer with great basslines, check out Guilmant's organ works, or really any of the great romantic organ composers.
Mozart
@@kiren3168 LOL
Love it. The part at 11:00 is fixed into my head.
Oh Gosh, oh golly, oh WOW!
In 1986 I was totally "kidnapped" by this score (thanks Marie-Claire Alain) forthe first time, but even now, while hearing that "inlassable mouvement d'acier" (like the sixth movement of the quartet pour la fin du temps by O. Messiaen) I perceive a sense of thrill: how will those phrasing intricacies be handled in terms of legato and staccato? How will frenzy and majesty mix and melt into a towering building? Michel Chapuis gives a very convincing synthesis.
There are so many gems that linger in Bach's treasure chest. I'll do my best to exhibit them all for you to enjoy you "Aussie Boxing Composer"! (KA-POW!).
Hope I can play the toccata someday :) sounds beautiful and so imposing. I love this side of Bach
BACH Musik in meiner Seele bleiben, mein Herz und mein Verstand.
Bellísima como todas las interpretaciones, gracias.
Mi fuga favorita del maestro J.S Bach
Beleza vinda de DEUS diretamente para seu filho Sebastian!
Por la tonalidad y la energía el comienzo recuerda a la célebre "Tocata y Fuga" q todos conocen... NEVER FORGET: BACH = GOD
love the registration of the fugue
This is appallingly beautiful...
I'm amazed that Bach noted youtube in his compositions!
4:31 is magnificent
100% cure for depression 😎
I just spilled a drink trying to follow along with the left hand in that toccata
My eyes got crossed for the same reason.
I knocked my trashcan trying to follow the pedals
@Liam Nicholson Next to my trashcan
@Liam Nicholson please respect my privacy chris
I love this piece and Michel Chapuis' interpretation of it. Unfortunately this is a transcription from an LP, possibly via a CD re-issue and the sound is quite degraded. The LP original, which I bought when it came out in the 70's, is crystal clear.
For those who prefer a more relaxed tempo in the prelude (tocatta), there's a very nice version to be found here on CZcams by the late, great Marie-Claire Alain.
There are no words to describe this.
It is very professional... Thank you for sharing with us
Thank you for this great and helping project
Great Just what I need right now .Beautiful
Great organ piece...I love it
You lost 50 subscribers?! Yikes. I can't believe people are like that. That video was totally cool. I heard the Emerson Quartet and yes, thanks to your suggestion, I'll be using them (just bought the 'used' CD now). Zoltan Kocsis' (piano) recording will also be used on a couple of tracks (the animation will contain both full 4-part scoring and piano reduction so I'll want to present both versions).
This a Monster of a piece by Papa Bach!
Battle of the angels right here.
Lucifer v. God.
Spoiler Alert : Picardy Third.
MAESTRO J.S. Bach!!!
When you don’t expect, Bach let discover you other planets
Bach über alles!
Love that Michel Chapuis continues the trill at 1:42 the wholength of the note. Many organists disappointingly do not.
Perfectempo!
Love the added trill at 2:44. I never thought of doing that.
Wish the unsteady wind problem were corrected. Especially noticeable at 6:16 .
7:56 I trill the Bb at the end of the fugue subject.
9:01 G 9:32 D 10:06 A.
11:07 trill the high C
11:21 and E in the pedal
Wonderful performance by organist Michel Chapuis!
What could have been won with a more stable wind? Nothing because a beton hard wind is the death of any vitality of the organ sound. More than that: a dead wind takes the organist an essential element of expression. If the organ doesn't respond to the play, which is most unsatisfactory. With an elastic wind, however, gets the organ sound or the played music an expressiveness that would not be possible otherwise. The wind, which produce the bellows built-in the wind chest, is the worst that can be imagined. Therefore,the most organs in modernistic construction (eg Rieger, Klais etc.) let me completely cold because of their rigid and aggressive wind. Even in the most perfect intonation no expressivity is palpable. And anyway, it is impossible because of historical protection reasons, fundamentally changing the wind system in historical organs,
Romanikant asks: _"What could have been won with a more stable wind?"_
Non fluctuating steady higher notes. The sound of unsteady wind makes the organ sound antique an old-fashioned.
A defect which should be corrected. If so historically important, have valves which can close off the wind-steadying devices when one wants the defect.
A lively wind power is not a matter of antiquated organ style but a question of musical sensation horizon. Again, through the incorporation of bumpers, the wind will be not better but worse. Although the wind pressure becomes uniform, but very often remains a nervous trembling of tones when the key pressing and during the playing. The cause lies not only in the design of the bellows, but in the dimensions of the channels, the cells in the wind chest. I would not say this if I had not already frequently experienced myself. And such interventions such as the installation of bumpers in historic organs is generally not possible, as already mentioned for reasons of monument protection.
But if you comes from the time of the so-called "Orgelbewegung" , I can very well understand your attitude. This Orgelbewegung is characterized by a number of dogmas, which I will not elaborate on.
I, however, see in a lively wind quality no shortage, but a benefit.
Romanikant says: _"A lively wind power is not a matter of antiquated organ style but a question of musical sensation horizon."_
It is a *defect* which was probably too costly to try to correct. But now we can with impact bellows.
My "attitude" is from listening as a teenager and disliking notes whose steady pitches are disturbed "bounced" by pedal notes and lower notes.
***** Which trill? I do the 1:42 trill with right hand and parallel 6ths below with the left hand.
Simplesmente divinal!!
Can you feel the power of Bach? 👏👏👏👏👏👏👏👏❤️❤️❤️❤️❤️🇧🇷🇧🇷🇧🇷🇧🇷🇧🇷
I like starting 1:28
I agree with StarTrekLivz and Alomoes. The problem, the way I see it, happens when playing at this speed, which I happen to like, one must be absolutely clear with the phrasing, particularly the pedal notes. In short, one has to release the last note of a phrase slightly earlier than written in order to emphise where one phrase ends and where the next phrase begins. Singers learn this early on. Organists don't. So, even when they get all the notes right, it winds up sounding like Shakespeare being read without recognizing any commas or periods. All the notes are there but where's the song? It turns into a runaway freight train barreling down the tracks. Sent with love. CVD
This toccata is amazing!
this is work a created by a genius. If your trying to study something,study what bach wrote ,because everything in there is emotional and has a math.
Merci Antox
wonderful performance... Unfortunatelly I think microphones was too much near the positive pipes.. So It's not possible to hear a difference sound dynamic from the great organ.
Музыка Баха шедевр
Doch, wieder Perfekt! Danke sehr.
Happy birthday, Capellmeister.
toccata boutta make me lose NNN, never before could music sound so T H I C C
Lmfaooooooo ahahhahahahah hahahhahahahha bruhhh
@@authenticmusic4815 I dont know why I wrote that, lol
You all should hear the late Robert Noerhen playing this on the organ he built at St John's Cathedral in Milwaukee. Talk about a recording to take if you're stranded on a desert island!
538 better than 565
What about 578?
Very nice performance!
calkowicie sie z toba zgadzam Krzysztof,sam jestem organista i kocham Jana Sebastiana
The only thing wrong with this piece is the name "Dorian".
If it were truly in the Dorian mode, we should be seeing the 6th degree of the scale as a B natural and not a B flat yet, in the fugue, the subject's only B is the 7th note which is a flat not a natural.
I believe the title comes merely from the lack of a B flat in the key signature and not from the notes actually used where B flat is written as an accidental. The toccata is the same.
Das ein Mensch so etwas komponieren und auch noch spielen kann, ist mir unerklärlich. Warum wird das Stück, also der erste Teil, nicht langsamer gespielt. Wäre das nicht eindrucksvoller? Man könnte mehr die Nuancen wahrnehmen. MfG, MS
Bach gave no tempo indications, so it's up to the performer to decide what makes sense, seems best in light of what Bach did write down. About some works there's a general agreement, but some performers will inevitably perform Bach as if he wrote for the Indianapolis 500, others as if he wrote for a funeral cortege. Not a bad thing, I submit. Just think how boring it would be if all performers of a given work kept to within just a few metronome beats of each other. I'm also happy that various organists select various registrations, though here again there seems to be general agreement.
Bach war ein Harmonie Monster.Kein Komponist hat seine handwerklichen und harmonischen Fähigkeiten besessen.
Meinst Du wirklich? Aber das Wort passt mir nicht. Sagen wir doch Sehr-Sehr-Hoher-Harmonie-Meister. MfG, MS
Michael Sack hihihi "Sack" ^^
good point, I have heard Bach works played at very very slow speed and of course they are beautiful most people know only the fast versions.
Exquisito!!! ❤
6:31 ... Beautiful!!
Smashing
If there is a better fugue ever composed, I'd like to know what it is. And to think he was 23 years old when he wrote it...
Personally his fugue in gminor just blows my mind. I just think that the presentations of the subject are soo tasteful and musical. It just fits so perfectly everytime
I think there are quite a number of fugues I like more. Including BWV 542 and BWV 578 both in g minor.
Such matters are purely of personal choice of course. But I was not referring to "favorite" - although I do love this fugue. I was speaking to the technical mastery of the construction. Of all of his great ones, this one stands out: the masterful use of stretto, the counterpoint in the sequences are amazing by themselves, the way the structure is carefully planned with the climax built to perfectly and on and on...
Robert Brownlow BWV 542 is his best Fugue in my opinion
I'm not quite sure this compares to Contrapunctus 11 or BWV 582.
The performer information did NOT include the location or the builder of the organ that Monsieur Chapuis used! Can that deficiency be corrected--PLEASE?
+Tom Nichol I have the CD of this. It is the Arp Schnitger organ in the church of Saint Michel in Zwolle, Holland.
el Em que aparece en el minuto 6:30 es majestuoso
Me at 11:33 - How... HOW CAN YOU TRILL WITH YOUR FEET.
5:11 fugue