Buxtehude: Toccata in F - BuxWV 157
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@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
TheYorkshireJack 2 days ago
@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.
Vespasian12345 2 days ago
Por que começar o preludio tão rápido e depois freiar? mas é ótimo .
juniorbarrosferreira 9 months ago
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..
TheYorkshireJack 10 months ago
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!
Luka56c 10 months ago
Koopman plays the fastest performance of this piece I have heard. Very enjoyable. Thank you for sharing!
bcharville 1 year ago
Sublime
ZoeEGrace 1 year ago
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.
Finistereny 1 year ago