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Louis Vierne - Toccata (Vexo, Bouvard, Devernay, Ospital, Roth, Bartfeld, Dubois, Brooks, Latry)
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- čas přidán 23. 07. 2021
- Score Video of the Famous toccata by Louis Vierne played by 9 organists:
- Vexo (Notre-Dame) 0:02
- Bouvard (Saint-Sernin) 4:26
- Devernay (Notre-Dame) 8:46
- Ospital (Saint-Eustache)12:05
- Roth (Saint-Ouen) 16:03
- Bartfeld (Notre-Dame D'Auteuil) 20:00
- Dubois (Notre-Dame) 24:15
- Brooks (Saint-Ouen) 28:23
- Latry (Notre-Dame) 32:57
To be honest, I am kinda surprised that Jean-Baptiste Monnot's version is not here. He has one of the cleanest pedal work I've heard.
Roth, for me it has something more ... expressiveness, tempo and clear phrasing.
In any case we are talking about great performers on fantastic instruments, there is no bad version.
I agree with you! Roth's version sounds demon possessed! It sounds frantic and manic. Here is another version that is similar and I might like even better: czcams.com/video/r9ydeYdSuRs/video.html
Pour bien des raisons techniques et musicales, grande fidélité à ce qui est demandé malgré une interprétation vraiment vraiment claire et marquée, grand merci à messieurs Roth & Vexo.
Thank you so much for this great comparison. Thomas Ospital and Johann Vexo are here my favourite recordings.
You're welcome, I love them all but Vexo is also one of my favourites.
I liked Thomas´ version as well and was surprised to see that he played it NOT on the remote console downstairs in St. Eustache BUT on the primary console between the main case and the "Positif à dos": I guess that yielded better results (no wonder considering the killer speed) ...
WOW! Thank you for this compilation. I love this toccata. Hopefully one day I can achieve to be virtuosic enough to attempt this. LOL.
Thanks, I love the toccata too, that’s why I did this video. Which is your favourite version?
It is indeed fiendishly difficult to play it "a tempo" and flawlessly, I often tried but never managed, I even wonder if Vierne did himself ... ;-)
Thank you for uploading that! I like Vexo's performance the most
I love it when you upload Vierne pieces, hopefully there is a video of Symphony 1 in the future.
Thanks. You want me to do vierne 1? I’m thinking about doing all the vierne symphonies at some point but I know some have already been done
@@julianmatthews5785 I don't think 3 has been done
@@thekathal I actually did the first movement, I should definitely do the rest and put it in one video
❤🪢🎶🌼⛑📃🍒📚🇻🇦✝️🌿🌸🥰💮💒🍋🌺🎶GRANDISSIME MAÎTRE ORGANISTE CATHOLIQUE PIERRE COCHEREAU (1924-1984)❤🇵🇸👍🔍🇦🇲🦁🇦🇲🌸🌿🕯🍒⛑📃📚🇻🇦✝️🇨🇵💒⛑🙋♂️
Interesting recordings. I have a favorite. One of the performances stands out thanks to its artistic qualities. Perfectly paced and perfectly clear in its intentions. Also perfect registrations. Two others are very close behind, but all of the recordings has a lot of great qualities.
Which ones are they?
I'm astonished that Roth (of all people!) played it at Devernay's speed.
I agree. And I am not fanatic of that tempo, too fast for my taste.
True, even more astonishing considering that Ouen has all mechanics and pneumatics (Barker and the lots) in its original state, just like Roth´s own (former) organ at St. Sulpice ... Still it is barely doable at that tempo and inevitably some details are lost down the road, but an achievement it is !!!
Absolutely phenomenal
Thank you Julian for this fascinating synoptic compilation of this stunning piece of music! For my part, only Ben van Oosten´s version at Ouen is missing, otherwise I dare say that in my humble opinion, the level of playing tends to be in increasing order with Olivier´s version representing the Mount Everest 🙂
vierne 😳👉👈
For me Devernay and Roth are the only ones who "get" this piece. Vierne wrote it more or less on the brink of insanity while going through hard times, and they are playing it accordingly like the ravings of a madman. Andre Isoir who's not included in here also does a great job.
I love all these recordings, and I understand your point really well but they can sound a bit rushed Devernay and Isoir especially. I think my favourite might be Vexo.
Hesitate to agree with you on Roth, as for Devernay: definitely over-rushed, however his sound capture of Notre-Dame is impressively up-close
I like very much the version of latry, clear phrasing especially in the slower piano part the other organists were less clearer in my opinion and the crescendo after is amazing. But i find also that the quality of his registration is better than the of dubois
Olivier is a grand-master of the instrument, in particular of "his" instrument: he knows like no other how to match his playing (both articulation and tempo) to both the specific piece and to the settings of the recording equipment (I´m sure he continously checks those with his sound engineer)
For me, the best is Ben Ven Oosten at Saint Ouen
Ben van Oosten is, in my opinion, the best performer of french symphonic french music for organ (Franck, Vierne, Widor, Dupré...), he has the best tempi, not too fast neither too slow, a perfect registration too, at Saint-Ouen the organ is perfect.
Could not agree more: the absence of Ben van (not "Ven") Oosten´s brilliant recording at Ouen is simply deafening in this synoptic compilation ...
Is it me, or does the organ in Notre Dame lack the roundness of sound (acoustics, maybe) that many of the other recordings have? I would have expected that in a space like that, it would have a much less angular quality.
It's not you, Notre Dame has quite a harsh sound which is perfect for a lot of pieces, it's because it's been rebuilt many times over the years and is very different from it's Cavaillé-Coll state that most of the organs were. I'm sure it also has to do with the different recordings, although St-Ouen also has a very bright tutti!
The sound of Notre-Dame is notoriously hard to catch if you don´t have at least a thousand top-notch microphones to your disposal and yes, its sound is evolving: I can´t wait to hear how it will sound after re-installment toward the end of 2024 after it had to be storaged due to the 2019 fire
If this Toccata is an expression of madness and despair, as Taneli Prittinen wrote, than Devernay and Roth are getting it right indeed. Besides, their performance is according to the tempo that has been written above it: crotchet=96.
Methinks, however, you can do this Toccata justice as well when you play it considerably slower: crotchet=72-76. In this manner it can become an expression of pain and sorrow. An example hereof is the following performance, played on the beautiful Hill-organ from 1915 in All Hallows, Gospel Oak, London: czcams.com/video/8qxLh6T48Vc/video.html. The subtle stressing of several semiquavers, the portatos-in-stead-of-staccatos in the pedal, and the tenutos on the organpoint F, 24 bars before the end, are certainly not diminishing the drama and the attractiveness of this magnificent piece.
How right you are, it is so difficult (if at all possible) to maintain all details in full clarity at the tempo prescribed by Vierne, especially at such huge instruments in churches with so much hall: better take it a tad more slowly, giving the audience more time of listening pleasure as a free bonus!
@@user-zz8ds8or3k Dank, heer Tukker ! Een ander voorbeeld van spel dat zo soepel is dat het een hoop luisterplezier oplevert, vond ik eergisteren op dit kanaal: muziek van Reger, uitgevoerd in 1973 in Dordrecht door Simon C.Jansen.czcams.com/video/Jfqx3BQqTtQ/video.html
I wonder what came over Latry's mind in this performance ?? Changing of tempo at some places, making some heavy rittendi... Latry has accustomed us to more strictness and to more faithfulness towards the score... Some temporay mental blanck...
I don’t understand, earlier today you said you didn’t like the Franck Choral 2 because it didn’t have enough rubato and now when latry plays with rubato you say he has memory blancks!
@@julianmatthews5785 Yes, Franck is a pure romantic, moreover, rallentendo and rittendo, expressivo, cantabile, are cleary noticed in scores of origine. But here it is a symphonic Toccata, and there is no place to rubato, it is completely different by the style ! Greetings.
Hey, I read your comment a while ago, but I just happened on this section in Rollin Smith's book about Vierne and figured it might be helpful in these comments - "Vierne felt that accents of duration - ritards and other examples of rubato - 'require critical thought, a special instinct with which only a few are endowed. Nevertheless, it is these small particulars that give life to organ music and without which the organ becomes a stiff, cold instrument of expression.' He once reminded a student that 'real music is never mechanical. It is rubber.'"
In short, Vierne was known to advocate for good usage of rubato in his teachings and performances and to play a Vierne piece with complete "strictness" in tempo might not be the answer. I mean, even Widor was known to slow down or have strong phrasing in parts of his toccata.
No idea what you are talking about: Olivier´s tempo is the most steady and flowing of all and for my part, the only one in full control of this piece
un tantino piu' adagio... cosi' si perde l'equilibrio e il pensiero originale si infrange nel virtuosismo ...esso è sempre fuori luogo, sempre. In medio stat virtus.
Ik ben het helemaal met u eens ! Door een langzamer tempo kan het stuk boeiender, aansprekender worden. Zie mijn commentaar hierboven/onder.
I must agree more with you both: less is more, in tempo at least ... Most organists lose lots of details in trying to break speed records
Monstrous noise. I hate it.
This is Vierne´s equivalent of Chopin´s Revolutionary Study: do you hate that too? Often the purpose of music is not to please the sensitive ear