Buxtehude: Toccata in F - BuxWV 157

[TheYorkshireJack]

@Vespasian12345 I realise that he is, however you can use the stylus phantasticus excuse up to the point that a piece simply doesn't sound like what is written on the paper. I don't want to undermine the brilliance that is Ton Koopman, but it really isn't a nice interpretation of the Toccata (pre-fugue (in which it settles down)). There are particular points at which he is forced to play the pedals do fast, with a consequence of the pipes being unable to speak properly. From my experience, I ha

[juniorbarrosferreira]

Por que começar o preludio tão rápido e depois freiar? mas é ótimo .

[TheYorkshireJack]

My organ teacher sent me this, too be quite honest, my only explanation was that he can have been in a rush for the plane? Pretty poor performance..

[Vespasian12345]

@TheYorkshireJack please explain your reasons for this. Before you begin to tell me I am wrong, bear in mind my organ teacher is Jamie McVinnie, and yes that is the assistant organist of Westminster abbey. I have also done my ARCO so please don't tell me i know nothing.Koopman is simply employing the stylus Phantasticus.

[Luka56c]

I don't like this performance.

It can be fast, but toccata is too wooden.

The fugue sounds better, because here tempo needs to remain the same!

[bcharville]

Koopman plays the fastest performance of this piece I have heard. Very enjoyable. Thank you for sharing!

[ZoeEGrace]

Sublime

[Finistereny]

Thanks for posting this recording.

Energetic performance... the sound seems to leap from the instrument, an effect accentuated by the church's small and tight acoustic environment. There is a lot of joy in the playing. What fun for us!

I love hearing Wilde's & Schnitger's unique, small reeds (the various regals, I think) in the plenum. The North German builders were renowned for for their color palette that came from these stops' harmonic overtones. Koopman exploits it in his registration.