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  • No, I'm not. I've checked. Ha, ha!

  • I'm a bit confused. Is Koopman playing autentically ( the way Bach himself would play) or is he making this up ( unhistorically)? I would really prefer the historical approach.

  • @achantus1 because you're stupid

  • @achantus1

    Koopman is considered part of the 'historic' performance movement. He is a student of the great Gustav Leonhardt, who was probably the most prominent figure in historically performed music during the last century.

  • yes...monumental and beautiful--muy bueno!!!

  • Hey, thanks for organizing these into a playlist. :-)

  • hey ton ! can you hear me ton ? hey, this is one piece t6hat I think you have imporved by throwing in trills !

  • Beautiful and monumental. A gift to mankind.

  • the fugue is the song of the rising fifth which develops into the song of the rising half-tone

  • this was the first organ work of Bach (apart from BWV 565) that I formally lsitened too and has been one of my favorite ever since

  • muy muy muy bueno

    extraordinaria interpretación

    sensible y precisa

  • ...Bach si sta rivoltando ...

    ma come, questa composizione e' una meditazione..

    pare che chi esegue abbia il ballo di S.Vito...

    Ricordo F. Germani, H. Walka, W.Kraft, A. Marchal, M.C.Alain.....

  • Why is this organ is a half-step sharp?

    Sounds like a modern built organ.

    I like Ton's pedal trills.

    Interesting and refreshing.

  • I think the Baroque builders tuned their instruments to whatever sounded best to them.

    Have you ever played German Baroque organs?

  • Shouldn't one trill in the pedal anyway?

  • Never got to Germany. But have played modern German organs. No pitch standardization? Or is it saving some pipe metal and wood? Some organs start on D. Dislike the unsteady attack pitch of this organ. I never placed any trills in the pedal of this work. All the many broken notes are a disappointing distraction. And again we have the unbalance of pedal with reed while none in manuals. But great, energetic tempo. Grade B+
  • Well yes, there was no set temperament in that age..

    You remember that video of Karl Richter playing 582 at Ottobeuren? Many were questioning what scale he was playing it in... That organ is tuned a step down, to the A415. Which is why it sounds so wonderful, I remember the comments you made.

    I have to agree with your B+, its indeed very energetic. But I also want to hear legato.

    Registration? I think its interesting. However if I had my way I'd balance it.

  • Ton doesn't play on modern instruments. Only on original baroque instruments and they have to be in top shape at that. The sound is indeed sharp - thats the pitch baroque builder used.

  • Excluding modern instuments is an unfortunate practice.

    There are many modern barogue instruments superior to the originals which often had insufficient wind resulting in bouncing tones in upper pipework.

  • Well, it's his choice. Also some people say, that these bouncing tones are what modern organs lack.

  • I hate the DEFECT.

    Some call it "jitter".

    J.S. Bach reportedly would pull on all the stops and play a big chord to see if the wind supply was sufficient.

    Jitter is the upper pipework being affected by pressure transients.

    Many people don't like that "old fashioned" sound.

  • @robertgift When in the music can I here what you refer to?

  • @CantusMaximus This organ is a half-step sharp.

    I hear some jitter at various places in the fugue. For example: 6:30.

    The lower, larger pipes, using more air, cause the smaller more pressure-sensitive pipes to waver in pitch. Noticed most when the higher notes are held as lower notes are running or changing.

  • @robertgift Ahh, I see! I've never noticed that before. I've always thought it was simply unavoidable. Perhaps it is because I've only played on older/smaller instruments.

  • @CantusMaximus It IS avoidable if organ builders would make good wind supplies.

    Some modern "authentic" organs even have the defect.

    Can be any size organ.

    I hate it. Any organs, even historic instruments, that have this deficiency should have wind regulators added. The regulators can then be defeated (turned off) if one wants to hear the historic defect.

  • Very interesting using a reed in the pedal for the fugue.

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