J.S. Bach Praeludium und fuge e-moll BWV 548 Christophe Mantoux à l'orgue de St-Séverin, Paris

[@octagramt]

Time stood still when he played this, and that clock proves it.

[@orglet]

A brilliant interpretation of the "Wedge"! The fast sections in the fugue are electrifying -- perfect, clear, and fast but not over-the-top too fast -- surely as Bach might have imagined them. The whole fugue flows forward to the end with a steady, inexorable motion, total clarity, and consistently excellent articulations, but with those subtle acknowledgements of points of arrival along the way that distinguish the very best players. Thank you, Christophe. Bravo!

[@geiryvindeskeland7208]

orglet, I am sorry for my inadequate English. orglet, quote about the fugue: " - surely as Bach might have imagined them." Peter Williams, "The Organ Music of J. S. Bach" page 163: "Autograph MS P 174 (prelude and first twenty bars of the fugue; the rest copied by J. P. Kellner?) My guess - Bach did not compose the fugue. The "wedge" don't sounds like Bach, it sounds "unbachian."

[@stylusfantasticus]

@@geiryvindeskeland7208 not agree, but you know...the Universe is wird.

[@1me0815]

Hier passt für mich alles was dieses Stück zu bieten hat...Toll..Bach zu 100%❤

[@Woriviol]

Un bain des sons et des harmonies, merveilleuse interprétation.

[@christianbesson6353]

Beauté absolue de cette oeuvre en mi mineur.

[@andremarchal7808]

Tempo majestueux et jubilatoire aussi bien dans le Prélude que dans la Fugue ! Merci pour votre magnifique interprrétation de cette incroyable cathédrale sonore !

[@briscaba]

Esecuzione bellissima! Emozionante, anche commovente. Grazie grazie!!

[@philippbasedau]

Danke!

[@NorbertdrLazar]

C'est une interprétation sensationnelle de Bach. Merci pour votre musique adorable.

[@clino4]

Tempo great. Registration perfect, playing outstanding. One of the best recordings I have heard, only lacking the pedal trills for perfection. Well done!

[@clino4]

@G G I didn't say I could do it better, I couldn't to say the least. Merely expressing my opinion and my preference.

[@tommotom7324]

This is my favourite of all of Bach's organ fugues. So pulsating1

[@gianlucamarcialis3595]

L'organista vuol comunicare la musica in modo cristallino e ci riesce perfettamente. Bellissimo ambiente, una chiesa storica ed un grande organo incastonato nella struttura come una pietra preziosa. Complimenti!

[@osindegerald8206]

A wonderful performance. A great performer.

[@stylusfantasticus]

As it deserves to be played !!!

[@草桶正樹]

素晴らしい。テンポも低音も映えており、地を這うような力強さと荘厳さが見事に再現されている。

[@Sathrandur]

Boys and girls, this piece is just another example of why you should learn scales.

[@dressedinblack73]

İnanılmaz güzel bir eser, hatasız icra . Şahane.. teşekkürler ıncredible beautiful song, magnificant ply....

[@Miketrain]

En plus de la superbe interprétation de ce monument de Bach par Christophe Mantoux je souhaite évoquer la grande qualité des vidéos publiées par Vincent Hildebrandt. En effet, à la prise de son toujours excellente, il faut ajouter le soin des cadrages qui permettent d'avoir l'interprète, les claviers, la partition et les registres ainsi que l'indispensable vue du pédalier ; et aussi une vue d'ensemble de l'instrument. On se retrouve, en bon organophile , soit à la console, soit dans la nef , pour notre plus grand plaisir. Merci Vincent.

[@fernandorivas7419]

Que espectacularidad. Muchas gracias. Saludos cordiales desde Santiago de Chile. Ut Benedicat tibi Dominun. Dr. Fernando Rivas-Burattini. How amazing interpretation. Thank you very much. Best regards from Santiago,Chile.

[@ГеоргийШу-с9щ]

Замечательная музыка ,сегодня впервые прослушала её в живом исполнении нашего органиста , считаю ,что нам очень повезло ,он же руководитель нашего церковного хора ,играет мастерски ,получила огромное вдохновение . Сейчас ,решила прослушать второй раз ,спасибо ,за ваш тяжёлый труд.❤❤❤.

[@malvaric_]

6:36 fugue

[@HoischenFA]

Musique toujours merveilleuse! Et joué très précisément et bien.

[@roniesanderson]

Wonderful performance.

[@EduardQualls]

Excellent.

[@fellow7091]

Here 11:30 Bach begins to play Chopin :)

[@jonasroman627]

Excellent !!! One of the best version I ever have heard. Working with this piece myself at the moment to a coming recital. You have a high tempi but still very clear articulation and still time enough to stress/emphasis certain episodes. 10 of 10!👌⭐️

[@galactus51]

Bravo Maestro!

[@stevenroper3577]

Nice. The voicings come through very well, acoustically and otherwise. Well Done.

[@polghislain5416]

Précision parfaite, prise de son excellente

[@elyot67]

j adore bravo merci

[@robertscott4759]

Beautiful phrasing in this performance. It really suits the instrument too.

[@keplergso8369]

One of the most beautiful Bach's P&F, a real firework ! Pure beauty !! Ant this organ sounds marvellously, with a very good phrasing of the player ! Good tempi too, not too fast neither too slow. Excellent interpretation (performance) of this masterpiece ! One thing : why the same registration everywhere, even between the Prelude and the Fugue, it is a bit boring, it is a pity. Jacques , from France.

[@mirjamlaetitia]

Fantastisch! Was könnte man Schöneres hören während dem Morgensport? :)

[@classicore22]

6:36 Fuga

[@micheal49]

Too bad we can only upvote just the once. Who's with me?

[@alexandrakoshechkina6419]

Hello ! My organist friend suggested that I contact Cristophe Mantoux in Canada. I promised my daughter that I would take a couple of lessons from this wonderful organist. Please help me find this musician! Our daughter is a pianist.

[@pichulonco7229]

amazing

[@soundsofmartinique]

Une de mes oeuvres préférées de Bach. J'aime la clarté du jeu, le rythme et le tempo. Bravo et merci ! Sinon... aucune variation sur les registres ?

[@keplergso8369]

Je suis du même avis, cf mes commentaires. Excellente prestation techniquement parlant, mais en effet aucun changement de registre, que ce soit dans le Prélude et la Fugue, et entre les deux. De même que le jeu exclusivement détaché/louré à la Pédale me lasse un peu, dû à l'utilisation quasi exclusive des pointes. Ici c'est typiquement le jeu « authentique » baroque à l'allemande qui est pris comme référence, et cela me gêne un peu, cela finit par être un peu lassant de n'avoir aucune nuance, aucun plan sonore différent d'un bout à l'autre ! Bien la peine d'avoir 50 jeux et 4 claviers à disposition !

[@rivermite1966]

I suspect that this is an extremely difficult organ to play . Tracker action?

[@keplergso8369]

Not really, if the mechanics are good, especially if you have Barker machines.

[@mrcontrapunct1562]

1. I miss the ripieno-concertino answer in the preludium. This preludium is a baroque concerto grosso. Imagine a baroque band: would everyone always play? Ripieno: 0.00-02.24, concertino: 02.24-02.46 ripieno: 02.46-02.52 concertino: 02.52-03.13 ripieno: 3.13-4.13 concertino: 4.13-4-23 ripieno: 4.23-5.21 concertino: 5.21-5.48 ripieno: 5.48 to the end . The concertino part is clearly a different musical material rhythmically, motivically, structurally. Why is that played with the same tone, the same dynamics, the same articulation? 2. Every two quarters, the organist slows down the music process, where the pedal makes octave steps (the feeling is the same as if one were listening to Debussy: En bateau - pull the oar). This kind of articulation can be seen in his exercise as he bends forward in every two quarters: 0: 08-0: 20; 3.47-4.17 this latter part is more terrible). Again, imagine a baroque chamber orchestra slowing down uniformly every two quarters. The above two points are very fashionable among organists today: they honk the whole piece in the same manual (on the "Hauptwerk") and are constantly slowed down. The interesting is that there is no such fashion for pianists. They don’t slow down constantly, and they play the secondary theme differently than the first theme. The same is true in the fugue: it consists of well-separable opposing musical material: material 1: 6.36-8.22; material 2: 8.22-8.40 These two musical materials are completely different. These two substances alternate several times in the fugue. Why play the same way? Imagine an orchestra: if everyone always plays everything it’s terribly boring. The organ is multitude of instruments, a complete orchestra. Where is the orchestration? Here is a recording of this work by Jiri Reinberger the famous Czech organist. He consistently plays ripieno and concertino and different musical materials differently: on a different manual, with a different registration, with a different articulation, he dosn't make faltering in the playing: kzbin.info/www/bejne/eWnVmaKdecd-aqM But not just him, but every organist 30 years ago. Bach registered so variably that there were always two assistants standing next to him who switched the registers.

[@camilloflaim8933]

Ilaria Centorino lo suona a memoria il bwv548. Bravo Mantoux ,vincitore del 1° premio Chartres. Io lo ho suonato con partitura.E' l'organo dove suonava Chapuis ? Ricordo del suo concerto a Trento dove ha suonato il bwv548.

[@samuelhelmlinger9588]

Magnifique, mais trop rapide

[@organman52]

Funny, when I play this piece, I don't bob my head around like a jack in the box.

[@davebarclay4429]

Why don't you post a video of yourself playing BWV 548 so we can see how it should be done?

[@organman52]

@@davebarclay4429 You know - I just might do that. Thanks for the idea ! Oh and - I can do without the loud 16' reed in the pedal throughout the fugue. But of course, that is what Bach intended. Silly me.

[@keplergso8369]

Excellente prestation techniquement parlant, mais aucun changement de registre, que ce soit dans le Prélude ou dans la Fugue, ni entre les deux mouvements. De même que le jeu exclusivement détaché/louré à la Pédale me lasse un peu, dû à l'utilisation quasi exclusive des pointes. Ici c'est typiquement le jeu « authentique » baroque à l'allemande qui est pris comme référence, et cela me gêne un peu, cela finit par être assez lassant de n'avoir aucune nuance, aucun plan sonore différent d'un bout à l'autre ! Bien la peine d'avoir 50 jeux et 4 claviers à disposition !

[@petertyrrell3391]

Unnecessarily fast.

[@av-uc4vx]

Bach again.....Yúck....Saint-Saëns already said: : “ cela ne commence pas et cela ne finit pas”. And he was só right......Nó real melodies, not óne surprising harmony, come ón.......only nóise that never ever stops before it has finished. Sorry Vincent....

[@davebarclay4429]

Are you a troll? If that really is your level of appreciation of Bach I feel sorry for you.

[@moresalesoryourmoneyback]

Most idiotic comment ever.

[@orglet]

Really, is the most insightful thing you can think of to say?! Well, thanks for your valuable wisdom.

[@cienciandre]

I know what this is about... It's just those people who start listening to classical music through romantic composers because of their dramatic and emotive pieces, and then think all the rest isn't good. Honestly, you may not like how the robust chords resonate from the organ, or maybe you just don't like baroque music at all, and it's completely fine. But if you think you have enough musical background to say Bach's pieces are "only noise" or "not one surprising harmony" then you need to study more. If it wasn't for Bach and his works, your beloved romantic composers wouldn't even compose. His melodies are simple because he just wanted to study the properties of harmony, while romantic pieces were made mostly to impress the public. If this is your only criterion... Pity

[@av-uc4vx]

Dave Barclay , Compare polyphony by Bach to polyphony by Gustav Mahler and you will see what i mean. Bach is dry theoretical, Mahler is passion.