J.S. Bach Fantasia und fuge g-moll BWV 542 Christophe Mantoux à l'orgue de St-Séverin, Paris

[@SaintPhantom.no2]

Probably the best version I've heard

[@yvesaudard8545]

Une œuvre magistrale dans une magistrale interprétation où la musique et la virtuosité se conjuguent dans un élan irrépressible. Orgue magnifique et interprète au sommet de son art.

[@SebastianAnonymous-p2d]

Cette interprétation claire et sans fioritures capture l'essence du contrepoint de Bach, c'est-à-dire la bataille non résolue et continue entre la raison pure et la raison pratique au cœur de sa philosophie.

[@BertHassoKEMNITZ-ls1pr]

St.Severin, Orgue merveilleuse.- BWV 542 is the most profound and most expressive organ fugue J.S.Bach has ever written .

[@walterboerner5297]

Excellent! Überzeugend! So wünscht man sich, dass Bach gespielt wird. Man hört wirklich nur Bach und keine eigenwilligen Auslegungen des Interpreten. Ein vollkommener Genuss beim Zuhören. Danke!

[@spiritussanctusband]

Trotzdem ist es aber ausdrucksstark und nicht, wie teilweise auch üblich, ohne jede Agogik von vorne bis hinten in der gleichen Registrierung wie mit dem Metronom durchgespielt. Hervorragende Interpretation.

[@kevinfinnegan5175]

I know Im quite off topic but do anyone know of a good website to stream newly released series online?

[@seilriss]

Exakt mein Gedanke 👍🏼

[@bordone64]

Complimenti vivissimi… Peccato che si possa dare il "mi piace" una volta sola…. Ancora BRAVO!!

[@thedevilsreject23]

Absolutely fantastic bravo from wales 🏴󠁧󠁢󠁷󠁬󠁳󠁿 uk 🇬🇧👏🏻👏🏻👏🏻👏🏻

[@doddlamberton8407]

Thrilling performance of a masterwork of the master.

[@phyzygy]

Inspirational and masterful playing here.

[@LectronCircuits]

Awesome performance! Heavy & Heavenly. Cheers!

[@tomws5594]

Fantaisie 0:10 Fugue 6:56

[@numberone51976]

Danke

[@murielkhelifa5587]

Œuvre magnifique et superbe interprétation !

[@DavidThomas-lt5kn]

Simply stunning.

[@Ann0-23-ky7dq]

GOAT, or nearby.. Musicus Perfection, Mr. ChrMant.

[@robertscott4759]

Fabulous interpretation of the work on this organ.

[@EduardQualls]

Excellent, comme toujours.

[@seilriss]

Vielen dank dafür! Das geht ins Ohr!

[@rene3314]

Très beau, merci

[@renaldtremblay8333]

Magnifique...

[@vanmusician]

Years ago I had the pleasure of playing this organ for a few minutes. The then organist Michel Chapuis was wandering around the triforium eating a sandwich!

[@pyykmatt79]

magnificent playing.. good work !! #BACH #organ #BWV542

[@bobh5087]

A wonderful rendition... although I prefer not to have such a *huge volume difference* in the Fantasia's contrasting sections (e.g., Hohlflöte or Rohrgedackt 8' + Spitzpfeife 4' + possibly Flachflöte 2'). This, I believe, is Bach's *most dramatic* Fantasia/Prelude. And the tempo in the Fugue never flagged or wavered (as so often one hears). And the organ certainly seems up to the challenge. Watching this brought back pleasant memories from my days as an organ major in graduate school. Merci bien. 👍 💕

[@philippehuysmans3159]

The prelude and the fugue must be seen as separate pieces, I think. The fugue is litterally an explosion, in all aspects.

[@philippehuysmans3159]

Cette fugue est une pièce majeure, peut-être supérieure à BWV565 dans la complexité, la jouer à ce point de perfection est une prouesse rare, et l'instrument est simplement somptueux. Je suis conquis.

[@PointyTailofSatan]

Excellent. Also a tip of the hat to whoever did the recording. Most microphones get overwhelmed by the power and range of an organ. But not here.

[@gideonbodden]

Aangenaam spel!

[@RobvanderHilst]

Bach's Fantasy in G minor, the counterpart of his equally dramatic Chromatic Fantasy for harpsichord (origin: Weimar II), which is here exhibited in a predominantly very loud manner (as is usually the case, unfortunately), would this be in accordance with the rhetorical nature of the composition? NO WAY. The fact that the essentially separate Fantasy in G minor (with only the modal signature B flat) is also combined here with Bach's equally separate Fugue in G minor (with two tonal signatures, B flat and E flat, and which is based on the Dutch folk song 'Ik ben gegroet' [which was the personal theme song of Bach's older colleague-organist and -composer from Hamburg Johann Adams Reincken, who was originally Dutch by the name of Jan Adamszoon Reinken] can be understood as a form of modern accommodation to ingrained playing habits. Original composition manuscripts of both works have not been handed down. The vast majority of 18th century copy manuscripts, however, perform both organ works separately. In only a few copy manuscripts do both appear to be combined. Bach did later add a chromatically grounded (newly composed) Fugue to the Chromatic Fantasy for harpsichord during his Leipzig tenure. Such an extension of a one-movement work as the Fantasy he almost certainly did not tackle, the Fantasy for organ remained single, became not a diptych like the ChromatiC Fantasy. Bach composed the free Fugue in g minor, with its overwhelming virtuoso bravura touch in Cöthen, with a view to an organ audition in the autumn of 1722 in Hamburg because of a vacancy for organist of the St. Jacobi Church in the wealthy, bustling North German port city Hamburg. Eventually Bach, having arrived in Hamburg, quickly withdrew as a candidate for the organist vacancy, Among other things, as it only became apparent on the spot, because of the limited scope that 37-yearsc old Bach - versatile composer and ambitious performing artist - was allowed in and outside the St. Jacobi Church in the musically very dynamic portcity. Hamburg was the only city in Germany to had a civic operahouse 'at the Goosemarket' that was co-founded by the aforementioned Johann Adams Reincken, who as a brilliant organist of the prominent St. Catherine's Church in Hamburg was considered the 'music pope' for years of the entire city. Bach if organist of the Jacobi Church was supposed to function within precisely defined lines and not at all outside of them. Bach had no interest in this at all, also from a financial point of view, or in other words: exit Hamburg. With as a lasting memory in this failed jobapplication adventure: the Fugue in G minor, based on the Dutch folk song 'Ik ben gegroet' so cherished by good old Johann Adams Reincken.