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Julius Reubke - Sonata on 94th Psalm

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Uploaded by on Nov 20, 2007

Kiyo Watanabe performs Fugue from "Sonata on 94th Psalm" by Julius Reubke on 79-rank Garland Pipe Organ (2003) at First United Methodist Church, Wichita Falls, Texas, January 16, 2004.

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  • Also, it's easy at the keyboard to forget that this is really an orchestral work. How would we conduct it? Or better yet, how would Birgit Nilsson interpret this?

  • Genialny utwor.Great Genius REUBKE.Wykonanie bardzo dobre.

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All Comments (15)

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  • You are inspiring to me as an organist!!!

  • Thanks for your recommendation.

    Otherwise, just try to focus on the registrations and the actual interpretation. If it's really good, you'll find yourself soon sucked into the piece...

  • Hi! Oh dear - it's such a pity not to have just a bit more atmospherics from a bit of building reverberation - technically nice but I can't find the atmosphere. You might find the upload of Hugh Potton playing this of interest.

  • Could use yet more colour, with more of a sweeping dynamic range (which would entail more piston-changes and swell-boxing); also, I'd use - if available! - a Bourdon 16' in the Swell much more - to me, this piece requires that kind of gravity (though no slower!!). Otherwise not bad at all!!

    This plus the recording on the pre-1990 Notre-Dame de Paris beat the neo-Baroque-style recordings from Germany, Austria and the Netherlands also available here BY FAR!!!

    4/5, maybe 4½/5...

  • Hi: Yes, I know it's an organ work. What I really mean to say is that it's a tone poem. That's what I meant by "orchestral". Does that clear up your confusion?

  • Sorry, this is an ORGAN work, composed for, and initially performed by Reubke on the organ when his health was already starting to fail.

  • I think that the reed digital!

  • Inerpretation depends on the organist playing

    this pice.The registration, well also the

    organist disgression, Hear Virgil Fox's interpetation and listen carfully to his registration. These two are very close.

  • Hi all: Yes, I agree counterpoint. It's always much to easy to start that subject too quickly, and by the time the pedal enters, you're saying to yourself, "Oh shit." I've found when playing the fugue, that I just look at the second hand on my watch, and use 60 as the tempo. It's easy to forget as well, that once you know it backwards and forwards, and everything is in the motor memory, that it has to be played at a tempo where the average Joe can hear the harmonic changes.

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