Bravo for exhibiting not only this instrument's power, but her clarity. Just superb. And the 32' special sauce of that croaky bombard in the final defines what "but this one goes to 11" is all about. Just an unstoppable river of sound.
Wonderful performance from Gerard Brookes on a fabulous instrument. Dubois’ Toccata from his Douze Pieces is one of those pieces that you never get tired of playing or hearing!
+nfk jazzer In his original score, Dubois instructed the player to gradually add stops in the final section until the full organ is attained. Quite clearly, Mr. Brooks has followed that instruction to the letter in this performance!
It sounds to me as though the 32' Soubasse is not just at the final chord of the piece. What it sounds like is being added in the last chord is the 32' Contra Bombarde, along with many other reeds.
There is a performance by Gert van Heoff that is a little slower and has better clarity because of less reverb. That does not take from this French piece on the ultimate French organ. Nicely done.
Superbly artistic playing getting the best from the composition, organ and cathedral acoustic (the 'big' stop) Thank you Gerard for this wonderful rendering of a favourite.
@@johanbrand8601 Most of the bombarde 32' you hear are - to my taste - voiced too loud. They completely overpower even the plenum. This one, however, blends perfectly with the rest of the voices. It is in balance. It does not overpower the plenum; it provides a powerful extra without saying "Hey! Look at me! Look at me!" Or better: "hear me! hear me!" (This also applies for some people nowadays ;-) ). The same goes for the high pitched voices. They don't 'screetch' but just add a brilliance to the rest of the voices. That was the strength of Cavaille-Coll and is, to my belief, the reason his organs are so much appreciated all over the world. Kindest regards from the Netherlands!
I think its too bombastic and loud. Too rough sounding. I'm anyway not a fan of 32' stops. Plus that low G is out of tune and basically spoils the Coda.
This music unfolds like a picture book full of stars, where birds come chirping, spinning farandoles, cracking rattles and dancing wizards. From rounds to nursery rhymes, the arrangements display their mystery, the songs fill with fervor and the organ have the roundness and brilliance of chimes ;)
A deeply impressive performance. Especially the perfect tempo and timing, very natural breating as it where nothing and so easy. A true artist. I think one of the very lovely organ sounds Cavaillé Coll build with his unique tempere and never sharp sound but light and spiritual. This is a reference recording!
I am amazed at the precision of the semiquavers. His articulation is perfect, I can hear every note. This is normally not the case with Dubois' Toccata, especially when performed on a symphonic organ in a huge gothic church like St. Ouen. This recording has inspired me to play the Toccata more clearly, so that everyone in the audience hears all the notes I play. As well as the wonderful playing, the Cavaillé Coll instrument is beautiful beyond belief!
une toccata flamboyante, par un organiste sachant faire sonner ce grand orgue de Cavaillé-Coll, reconnu - à juste titre ! - parmi les plus beaux ! Et dans cette abbatiale St Ouen, en plein coeur de la ville et proche de la cathédrale, au style gothique très avancé, extrêmement lumineuse grâce aux grandes ouvertures , son calcaire blanc ivoire rayé de rangées de silex noire...; elle était non disponible au culte, quand nous y étions, années 90's , une nef immense et vide, seul le grand orgue sous la grande rosace. St Ouen, c'est superbe à tous points de vue, esthétique visuelle et acoustique, merci beaucoup !
This is so enjoyable. Just hearing the recording on my system is a stunning experience, I can only imagine what it's like in person. Thanks for the photos too. This is becoming my favorite organ.
Hey Gerard - not sure if you will remember me but i was the “G Thalben-Ball”organ scholar at St Michael’s Cornhill in the mid-90’s when you were at All Souls, Langham Place and St James Clerkenwell. Latter possibly one of the best Bach/Baroque instruments in London. Anyway that’s just an intro to having found this performance just perfect: tempo, precision, articulation and ultimately a fantastic “joie de vivre” inherent in the piece conveyed so brilliantly. Love it!! Always admired your playing and its still top not h! Enjoyed this loads. Thanks!!
... in the world. If you ever get the chance to go to Rouen and visit St. Ouen, it is an unforgettable experience. Listening to this organ, standing in the middle of the nave of this magnificent gothic temple, I have rarely felt closer to Heaven before or since!
What incredible acoustics coupled with a great Organ and Organist and yes very fine registration. I too agree that the 32' reed was added at the proper place, brilliant!
Sometimes a structure only gets visible, when you play fast. But often the result is a kind of yoghurt - especially in a wide space of a cathedral. The masterpiece offered here ist still chrystal cleer despite the tempo ! The mystery: Gerard Brooks takes a note a bit shorter before an `emphasized` note (betonte Note). It`s the mystery... because Organs don´t offer dynamic keys in these short moments, as on a piano. The Organ is One or Zero. Therefore a tone only gets `important`, when you shorten the note right before it, creating a little (very little) pause. And because this principle is not written down in the manuscripts as a kind of ''executive order''... you can devide the organist`s universe of fast tempis into parties: Those who want to get ready, when they run through VS Those, who keeep the transparency by the technique shown here in high end. Wow. Another bridge from my view: Think `J.S.Bach-Präludium`, and this divine beautiful Dubois-Toccata is totally yours! Thank you dear Mr. Brooks for opening my eyes to the long-bow-structure of this Dubois composition after 40 years `knowing it` :) Life is beautiful: Learning will never end.
Excellent recording - if you want to listen to the piece with the score though, check out this alternative recording at ruclips.net/video/0gpOweAw68Q/видео.html
A 16 ann......i terribile ideale per noi giovani e affamati di bellezza…. e delle ragazzine come noi… Uno scriteriato disse che...era scontata. Io gli ho bucato le gomme della macchina….. io ero vendicativo… ma ora alla mia eta'…. pero' astio? noh, vendetta, togliergli la pensione!!!!!!!!!!!!
This comments section has restored my faith in humanity. Good job guys, demonstrating that RUclips isn't all about toxicity.
Oh my god ohmyjosh, I couldn't agree more
Perfect tempo, perfect touch, perfect organ. This will stand the test of time. Perfect!!! CVD
Bravo for exhibiting not only this instrument's power, but her clarity. Just superb. And the 32' special sauce of that croaky bombard in the final defines what "but this one goes to 11" is all about. Just an unstoppable river of sound.
One of the best performances of this around. Very clear and precise. Love it!
Wonderful performance from Gerard Brookes on a fabulous instrument. Dubois’ Toccata from his Douze Pieces is one of those pieces that you never get tired of playing or hearing!
love how he saves the 32' til the last chord... brilliant registration...!
+nfk jazzer In his original score, Dubois instructed the player to gradually add stops in the final section until the full organ is attained. Quite clearly, Mr. Brooks has followed that instruction to the letter in this performance!
It sounds to me as though the 32' Soubasse is not just at the final chord of the piece. What it sounds like is being added in the last chord is the 32' Contra Bombarde, along with many other reeds.
David M when anyone says “the 32” regarding this organ, they are most definitely referring specifically to the Bombarde!
@@johnheimel5594 You should hear the Sydney Town Hall 64!
@@davidmorrison2739 I have heard it, but the 32' Bombarde at St Ouen is legendary.
Le toucher de Gerard Brooks : précision, articulation, nervosité... Le tout avec une belle registration. Quelle maîtrise de l'instrument !
His understanding of the music and the clean acoustics or the building is marvelous!
Possibly the best rendering I've ever heard of this wonderful toccata
There is a performance by Gert van Heoff that is a little slower and has better clarity because of less reverb. That does not take from this French piece on the ultimate French organ. Nicely done.
Gillian Weir isn't bad!
@@terryjones8471 runaway train
Superbly artistic playing getting the best from the composition, organ and cathedral acoustic (the 'big' stop) Thank you Gerard for this wonderful rendering of a favourite.
Most beautiful bombarde 32' ever heard!
Why does everybody love this 32' bombarde?!
because it is perfection: full, powerful, immense, colossal, and does not cover the other sounds.
@@domila5316 Amen!
@@johanbrand8601 Most of the bombarde 32' you hear are - to my taste - voiced too loud. They completely overpower even the plenum. This one, however, blends perfectly with the rest of the voices. It is in balance. It does not overpower the plenum; it provides a powerful extra without saying "Hey! Look at me! Look at me!" Or better: "hear me! hear me!" (This also applies for some people nowadays ;-) ). The same goes for the high pitched voices. They don't 'screetch' but just add a brilliance to the rest of the voices. That was the strength of Cavaille-Coll and is, to my belief, the reason his organs are so much appreciated all over the world.
Kindest regards from the Netherlands!
I think its too bombastic and loud. Too rough sounding. I'm anyway not a fan of 32' stops. Plus that low G is out of tune and basically spoils the Coda.
This music unfolds like a picture book full of stars, where birds come chirping, spinning farandoles, cracking rattles and dancing wizards. From rounds to nursery rhymes, the arrangements display their mystery, the songs fill with fervor and the organ have the roundness and brilliance of chimes ;)
What a fabulous performance!
Superb musicianship and a fabulous instrument. Wonderful.
Impeccable registration and technique!!!!!!!!!!!!!!!!!!! Love it!
A deeply impressive performance. Especially the perfect tempo and timing, very natural breating as it where nothing and so easy. A true artist. I think one of the very lovely organ sounds Cavaillé Coll build with his unique tempere and never sharp sound but light and spiritual. This is a reference recording!
Simply amazing registration, particularly saving the 32 pedal Bombardon for the last chord.
The bombarde is on before the last chord. But he does quint the bottom note.
One magnificent organ - the Cavaille Coll!
Certainly done more for civilisation than you bloody Lusignans ever did!
A good mixture of french and german sensibilities in the score.Well played;Perfect understanding of the score.
très belle interprétation : bon rythme et choix des jeux parfait.
this comment section is so classy. like this music.
Pour moi, le Cavaillé-Coll le plus réussi ! Bravo à l’interprète, son jeu est magistral !
I am amazed at the precision of the semiquavers. His articulation is perfect, I can hear every note. This is normally not the case with Dubois' Toccata, especially when performed on a symphonic organ in a huge gothic church like St. Ouen.
This recording has inspired me to play the Toccata more clearly, so that everyone in the audience hears all the notes I play. As well as the wonderful playing, the Cavaillé Coll instrument is beautiful beyond belief!
Jhr. Humphrey. The sound this organ is ongeevenaard/Fabulous.
une toccata flamboyante, par un organiste sachant faire sonner ce grand orgue de Cavaillé-Coll, reconnu - à juste titre ! - parmi les plus beaux ! Et dans cette abbatiale St Ouen, en plein coeur de la ville et proche de la cathédrale, au style gothique très avancé, extrêmement lumineuse grâce aux grandes ouvertures , son calcaire blanc ivoire rayé de rangées de silex noire...; elle était non disponible au culte, quand nous y étions, années 90's , une nef immense et vide, seul le grand orgue sous la grande rosace. St Ouen, c'est superbe à tous points de vue, esthétique visuelle et acoustique, merci beaucoup !
WOW!
Fantastic playing. I love this piece 😍
A great and tasteful artist!
El sonido y la acústica son los artistas maravillosos ,qué fantástico, y el tecladista maravilloso ,gracias
One of the finest organs in the world
I, too, have been there and the sound is beyond reckoning. It is difficult to explain to those who haven't been there.
@@albertpeckham8708 Agreed. It is different when there in person. Many times more magical than any recording.
This is so enjoyable. Just hearing the recording on my system is a stunning experience, I can only imagine what it's like in person. Thanks for the photos too. This is becoming my favorite organ.
Love the blast of chamandes at the end. Best rendition there is.
Que tonos tan maravillosos es grandioso ,gracias.
What a fabulous instrument and a terrific performance. The slower tempo gives the piece real dignity.
Hey Gerard - not sure if you will remember me but i was the “G Thalben-Ball”organ scholar at St Michael’s Cornhill in the mid-90’s when you were at All Souls, Langham Place and St James Clerkenwell. Latter possibly one of the best Bach/Baroque instruments in London. Anyway that’s just an intro to having found this performance just perfect: tempo, precision, articulation and ultimately a fantastic “joie de vivre” inherent in the piece conveyed so brilliantly. Love it!! Always admired your playing and its still top not h! Enjoyed this loads. Thanks!!
Fantastic piece form one of the bests organs in Europe
... in the world. If you ever get the chance to go to Rouen and visit St. Ouen, it is an unforgettable experience. Listening to this organ, standing in the middle of the nave of this magnificent gothic temple, I have rarely felt closer to Heaven before or since!
What incredible acoustics coupled with a great Organ and Organist and yes very fine registration. I too agree that the 32' reed was added at the proper place, brilliant!
A brilliant interpretation of a brilliantly magnificent work!!!!! :)
This selection is available in Gerard Brooks' CD Abby Spectacular! Organ favorites from St. Ouen , Rouen.
Sometimes a structure only gets visible, when you play fast. But often the result is a kind of yoghurt - especially in a wide space of a cathedral. The masterpiece offered here ist still chrystal cleer despite the tempo ! The mystery: Gerard Brooks takes a note a bit shorter before an `emphasized` note (betonte Note). It`s the mystery... because Organs don´t offer dynamic keys
in these short moments, as on a piano. The Organ is One or Zero. Therefore a tone only gets `important`, when you shorten the note right before it, creating a little (very little) pause. And because this principle is not written down in the manuscripts as a kind of ''executive order''... you can devide the organist`s universe of fast tempis into parties:
Those who want to get ready, when they run through VS Those, who keeep the transparency by the technique shown here in high end. Wow.
Another bridge from my view: Think `J.S.Bach-Präludium`, and this divine beautiful Dubois-Toccata is totally yours!
Thank you dear Mr. Brooks for opening my eyes to the long-bow-structure of this Dubois composition after 40 years `knowing it` :) Life is beautiful: Learning will never end.
que linda música
Is this work from a collection or large work? I am trying to find it among his works on imslp.org Could someone help me please?
Excellent recording - if you want to listen to the piece with the score though, check out this alternative recording at ruclips.net/video/0gpOweAw68Q/видео.html
Sumptuous
Sorry about the typo "or" should be "of"...I'm a better musician than I am a typist! or at least I think I am...hehehe
This piece isn’t actually as hard as it sounds, just a lot of patterns
A 16 ann......i terribile ideale per noi giovani e affamati di bellezza…. e delle ragazzine come noi… Uno scriteriato disse che...era scontata. Io gli ho bucato le gomme della macchina….. io ero vendicativo… ma ora alla mia eta'…. pero' astio? noh, vendetta, togliergli la pensione!!!!!!!!!!!!
I don’t speak pasta but what are you talking about?