Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 676 of Secrets of Organ Playing Podcast. This question was sent by Nick, and he answers my question, “What is your dream in organ playing in the next 3-6 months, and what are some challenges along the way?” So he writes, 1. To be able to play a wide selection of easy to moderate standard organ pieces suitable for service use. V: and challenges would be 2. Sight reading, sight reading and sight reading! V: Why do you think he writes “sight reading” three times? A: Because it’s his main challenge. V: Oh. A: But you know, I think that this sight reading is very important for him to achieve, that his first goal to have a wide selection of easy to moderate standard organ repertoire suitable for service use. I remember when I played at church in the United States. Well of course, because I was always working on the big repertoire for my degree recitals, I was looking for easy church music to play, basically the pieces I could maybe sight read once or twice and then play for the services. So basically it was really important to find suitable music. And then after doing that for awhile, the sight reading just became so easy. V: Mm hm. Did you prefer to play, sight read for service purposes, music of composers who lived in previous periods or contemporary music? A: Actually, mainly Baroque music, some Romantic music. A little bit of Dupre, but not so much of living composers. V: Mm hm. Nowadays there are some publishing houses, especially in the United States which specializes for service music for organists, accessible music basically. Accessible may be quality music too. A: Yes, but it costs, and at that time I didn’t have any money, any extra money, additional money to get new scores, so I just had to pick up something that is accessible to me. V: Mm hm. A: So I really loved Dover’s publications because they were cheap and they had a large collection of music. I remember buying like Pachelbel, and I played it - almost entire collection - sight read for services. V: If you had good improvisation skills at that time, would you rather have improvised than sight read? A: Yes, probably because it’s so convenient when working at church. V: Let’s say your pastor would select hymns, right, or some other music director select hymns for you. And then you could improvise preludes and postludes and interludes, right? A: True, true, that would be very useful skill. V: That’s exactly what contemporary composers do. Maybe they’re not improvising newly written repertoire, but they’re creating music based on those seasonal hymns, right? Mostly. So that an organist could go to their catalog and order something suitable for that Sunday, particular Sunday. And there are publishing houses like Lorenz or Wayne Leupold Editions. I suspect there are many others too, but those two came to my attention just recently. For example, Wayne Leupold Editions have periodical. You can subscribe to, how it’s called… The Organist…Organ Companion I think. Yes, Organ Companion. We have two archival issues of this periodical, about 30 pages long, so maybe like nine or ten pieces in each issue. Issued bi-monthly, every two months, and for any particular season in that period. And one third of that consists of pieces of Baroque, 17th and 18th century music, one third of Romantic and early 20th century music, and one third of contemporary composers, specifically created for that purpose. What do you think about that? A: You know, there was a time when I really thought, I had a very high opinion about Wayne Leupold’s Editions, in general on the music, because they were really good collections in terms of historical approach and performance practices. They had extensive articles about what they are publishing. V: Yes, I will interrupt you, because in that Organist’s Companion, there are commentaries about each piece and extensive historical documentation too. A: But if we would look at the prices, what he offers, I think they are just enormously high. V: To add to this, maybe nowadays he offers alternative publications also, like PDFs. Much much cheaper you can subscribe to PDFs every two months, and they are quite affordable. You get constant flow of new repertoire. A: And in general, I remember listening to his presentation, live presentation back in the United States, I realized that he is more like businessman, not as musician, because he really knows how to sell his product very well. He reminded me actually of that turtle from the Ice Age movie, remember? V: Yes. A: Who could sell anything! Right before the flood coming. So that reminded me a little of Wayne Leupold. I hope he will not be offended of my comparison. V: But on the other hand, musicians also should be able to sell their art, don’t you think? A: Yes, that’s true. V: Otherwise you will end up in the drawer. A: Yes. Except that you know the auditorium of musicians are never rich basically, and your products cannot be… V: Expensive? A: Expensive, yeah. V: But… A: …or so expensive, because our income is really low. V: …if you work at a large church, for example, sometimes your employer buys things for you. A: That’s maybe only in United States and a few places in United States. But I don’t think that’s true in Europe. Not in Lithuania, anyway. V: These purchases could be tax deductible, you know. A: Yeah. V: It’s still not free, but it’s a good support I think. A: Yeah. V: For professional material. A: But anyway, if you love to read and you like a historical approach, then yes, Wayne Leupold is a good place for new scores. V: Another place I found is Lorenz Publications from United States. Carson Cooman, our colleague on YouTube, organist and composer, he is an editor there in Lorenz, and he manages those subscriptions also. They have this subscription, monthly subscription, you pay a fee for a certain number of download credits. And let’s say five or ten credits, you can select your own choices, or you can trust what the editor suggests for each season. They send you like a subscription-based newsletter every month. A: That’s very good if you lack your own ideas, then you can be advised what to do and what to select. It’s very handy. V: And it’s very affordable. And if you’re not satisfied with what the editor suggests, you can go online to their catalog online and pick your own things from their publishing house of course. And they specialize on affordable - accessible maybe - accessible contemporary organ repertoire for church use. A: Yes. V: So that’s two things to think about if you are not willing to improvise during services, right? And if you need…of course, you still need sight reading skills for that, if you are constantly playing… A: But I think if you are having the church position, like regular church position, I think that sight reading skills will come to you. V: Sooner or later. A: Sooner or later, yes. Because you will be forced to sight read every day. Maybe you will have no time to prepare for each service, then what else can you do? Just sight read. V: Yes, excellent. So I hope this was useful to our listeners. These ideas. And please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Buy Me a Coffee platform and get early access: A: Find out more at https://buymeacoffee.com/organduo
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Today I recorded Arrival of the Queen of Sheba by G.F. Handel. What a fantastic music it is. It was hard to record it after Vidas' and mine Valentine's Day recital. Still had Brahms on my mind. Thank you for your support! If you like what I do, you can buy me some coffee: https://www.buymeacoffee.com/organduo PayPal: https://PayPal.Me/ausramotuzaite My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Listen to my organ playing on Spotify: https://open.spotify.com/artist/2pXxZgiFPMKiqBRYi9rSLT?si=Xe1nTroTSmOGPtv8bP8MSw Welcome to the special Valentine's Day episode of On the Bench with Vidas #9. Today's special guest is Ausra Motuzaite and we are celebrating Valentine's Day at the piano at our home. Prepare to be entertained with immortal Liebeslieder Waltzes, Op. 52 by Johannes Brahms for Piano 4 hands! Visit Ausra's channel: youtube.com/c/ausramotuzaite PROGRAM: Liebeslieder Waltzes, Op.52 by Johannes Brahms (1869) 1. Rede, Mädchen, allzu liebes. Im Ländler-Tempo 2. Am Gesteine rauscht die Flut 3. O die Frauen 4. Wie des Abends schöne Röthe 5. Die grüne Hopfenranke 6. Ein kleiner, hübscher Vogel nahm. Grazioso 7. Wohl schön bewandt 8. Wenn so lind dein Augen mir 9. Am Donaustrande 10. O wie sanft die Quelle 11. Nein, est ist nicht auszukommen 12. Schlosser auf, und mache Schlösser 13. Vögelein durchrauscht die Luft 14. Sieh, wie ist die Welle klar 15. Nachtigall, sie singt so schön 16. Ein dunkeler Schacht ist Liebe. Lebhaft 17. Nicht wandle, mein Licht. Mit Ausdruck 18. Es bebet das Gesträuche. Lebhaft Score: www.sheetmusicplus.com/title/piano-works-for-four-hands-complete-sheet-music/3490030?aff_id=454957 Thank you for your support! If you like what I do, you can buy me some coffee: www.buymeacoffee.com/organduo PayPal: PayPal.Me/VPinkevicius My Hauptwerk setup: www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! organduo.lt Listen to my organ playing on Spotify: open.spotify.com/artist/0ckKPIvTWucoN3CZwGodCO?si=YWy7_0HqRvaZwBcovL-RKg Welcome to episode #8 of On the Bench with Vidas series! Today I will play the works of Dieterich Buxtehude, Max Reger, and James Michael Stevens as well as improvise on hymn tunes and jazz standards. Hope you will enjoy the sounds of Hauptwerk Nitra, Sw. Lipka, Nancy, Alessandria and Wurlitzer Op. 1680 sample sets! PROGRAM: Hauptwerk Nitra 1. Ciacona in C Minor by Dieterich Buxtehude 2. Gott der Vater wohn uns bei by Dieterich Buxtehude Hauptwerk Święta Lipka: https://piotrgrabowski.pl/swieta-lipka 3.Ach bleib mit deiner Gnade, Op. 135a No. 1 by Max Reger 4. Grosser Gott, wir loben dich, Op. 135a No. 10 by Max Reger Hauptwerk Nancy 5. Prayer of Serenity by James Michael Stevens 6. Night Song by James Michael Stevens Hauptwerk Alessandria: 7. Hymn Prelude Improvisation 8. Hymn Prelude Improvisation Hauptwerk Wurlitzer 1680: 9. Alice from Wonderland (S. Fain) 10. All God's Chillun Got Rhythm (Kahn-Kaper) Thank you for your support! If you like what I do, you can buy me some coffee: https://www.buymeacoffee.com/organduo PayPal: https://PayPal.Me/VPinkevicius My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Listen to my organ playing on Spotify: https://open.spotify.com/artist/0ckKPIvTWucoN3CZwGodCO?si=YWy7_0HqRvaZwBcovL-RKg During a graduation ceremony last week at Vilnius University St John's church I played Pomp And Circumstance. Hope you will enjoy it! Thank you for your support! If you like what I do, you can buy me some coffee: https://www.buymeacoffee.com/organduo PayPal: https://PayPal.Me/ausramotuzaite My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Listen to my organ playing on Spotify: https://open.spotify.com/artist/2pXxZgiFPMKiqBRYi9rSLT?si=Xe1nTroTSmOGPtv8bP8MSw In today's On the Bench with Vidas livestream I will play the works of Phil Lehenbauer, Graham Twist, Alejandro D. Consolacion II, Carson Cooman as well as improvise on hymn tunes. Hope you will enjoy the sounds of Hauptwerk Alessandria and Wurlitzer Op. 1680 sample sets! PROGRAM: 00:00 1. Coronation Fanfare by Phil Lehenbauer Score: https://www.sheetmusicplus.com/title/coronation-fanfare-all-hail-the-power-of-jesus-name-organ-work-by-phil-lehenbauer-digital-sheet-music/22206657?aff_id=454957 Visit Phil's channel: https://www.youtube.com/c/OrganGuyPhil 06:30 2. Old Scottish Carol by Graham Twist Visit Graham's channel: https://www.youtube.com/channel/UCFNkzXKF9XM6-Y51Lk1maBQ 15:35 3. Winter Prelude No. 1 by James Michael Stevens 19:07 4. Winter Prelude No. 5 by James Michael Stevens Score: https://www.sheetmusicplus.com/title/winter-preludes-for-organ-nos-1-5-digital-sheet-music/22141639?aff_id=454957 Visit James' channel: https://www.youtube.com/c/JamesMichaelStevens 26:35 5. Chorale Prelude "Es ist ein Ros' entsprungen" by Alejandro D. Consolacion II Visit Alejandro's channel: https://www.youtube.com/c/AlejandroConsolacionII 33:11 6. Aula Parva by Carson Cooman Visit Carson's channel: https://www.youtube.com/c/CarsonCooman 42:20 7. Yet Before We See Your Plans, Hymn Improvisation 46:47 8. Jesus Wants All of His Chilrdren, Hymn Improvisaiton Hauptwerk Wurlitzer 1680 50:58 9. Song at Dusk by Graham Twist Thank you for your support! If you like what I do, you can buy me some coffee: https://www.buymeacoffee.com/organduo PayPal: https://PayPal.Me/VPinkevicius My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Listen to my organ playing on Spotify: https://open.spotify.com/artist/0ckKPIvTWucoN3CZwGodCO?si=YWy7_0HqRvaZwBcovL-RKg
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra V: Let’s start episode 674 of Secrets of Organ Playing Podcast. This question was sent by Maureen, and she writes, I have been working on Christmas carols. There is a Catholic church 26 miles from my hometown needing an organist. I haven't played in public for a long time. Seeing this advert has given me renewed vigour to play with a definite purpose. There is a huge part of me who would love to play again in public and there is the other part of me trying to be sensible, logical, and practical. I would need daily access to the organ and the energy to meet the challenge. I don't drive; I haven't played in years; I don't know whether to let the priest know I can play a church organ with time to familiarise myself with it. What would you do? V: So Maureen is a member of our Total Organist Community and basically she’s wondering whether to pursue this dream of playing organ in public, right, Ausra? A: Yes, and I would say, just take this chance. Because another opportunity may never come to you. And I think you need to see as many years in life as you can, because you can always, if after trying something will not work for you. But if you will not try, then you will never know if that would have worked for you. And you might even regret that you haven’t tried it. V: Yes, I agree with you. And this is because we often think that our limits are low, you know, when we are practicing at home. That we can do certain things and not more. But surprisingly, when the situation has more risk like playing in public, at church or in concert, if you’re able, and then somehow you get more ability to play for other people, right? You discover you have some kind of inner power you didn’t think you had. A: That’s right. And you know, maybe Maureen can practice in her hometown. But to go to perform in public in that Catholic church which is 26 miles away from her hometown. Because she’s not driving, maybe somebody can give her a lift. Maybe somebody from that congregation lives close to her hometown. V: Absolutely true. Usually, in Catholic liturgy, people are required to play hymns, some acclamations, what else…maybe… A: Parts of the Mass of course. V: Parts from Ordinary Mass, yeah. And sing some psalms, I don’t know if in her town this is the case, but in Lithuania, Poland, for example, organist also has to sing. A: But I think this is unique for Lithuania and Poland. I don’t think in other countries Catholic organists also sing psalms. V: You might be true. You might be right. A: Actually, in Lithuania it’s more important to have a good strong voice than to be able to play well. V: Right. So probably Maureen should be thinking about playing hymns. A: Most likely, yes. V: Playing hymns in time well, with good leading, sense of rhythm. It could be actually beneficial practice for her to record her own singing - for herself, you know - starting from a certain pitch. Then later she could play that recording to herself and accompany her voice with the organ. Meaning that you, an organist, cannot drag or change the rhythm because the melody is sung by people already. What do you think, Ausra? No? A: I don’t know. Never thought about it. V: You know, you pretend that you are your own congregation in that recording. I can test on you. A: (laughs) V: You can sing for me, and I could accompany you. A: I know when I played at church, did many hymns, I would sing myself. But not loud. V: Mm hm. A: But inside of me I always was singing because that way I can pick up the right tempo of a hymn. V: That’s a good idea, too. Sing inside. A: Yes. V: With your inner voice. And I guess the test that I was suggesting wouldn’t work for us, because you know me and I know you, and you would adapt to my playing, and I would easily adapt to your singing. It has to be like a stranger person, who would not bend to your playing that much. So that’s why I suggested doing recording first of your own singing, and then playing it back together with your accompaniment. A: Well you just need to accompany really loud, and don’t listen to what congregation is singing. That way you will be a leader and they will have to listen to you. V: Well, exactly. It’s a good idea. Interesting question for discussion, maybe for another time: An organist…is an organist a leader or a follower? Accompanist or somebody who leads? A: Well definitely I think the organist should be leader in hymn accompanying. And you can follow somebody who sings, if it’s a soloist, then yes you need to follow with accompaniment. But if you’re leading the congregation singing then you need to be a leader. V: How is it different from soloist - following a soloist - accompanying a soloist? A: Well, it’s much different, a lot different, because it’s only one person, the soloist. And then you can adapt and follow him or her. But if it’s entire congregation, no. If you will start to listen to congregation too much, it won’t be good. V: It’s like in classroom? A: Yes. There needs to be one leader. V: Like you. Teacher. You are teacher for 15.5 years, right? A: Well no - in general to count all the years that I have taught, it would be 22 years. V: 22? A: Yes. V: Wow. A: So I’m done with teaching for now. V: For classroom setting. A: Yes. V: Mm hm. Yeah. If you have a lot of students in the classroom, you have to lead. But if you have just one-on-one lesson, you can listen. A: You still need to lead. V: But you can listen more. A: If you are a teacher, you always need to lead. V: But there is more room for listening, I think, one-on-one. A: Well yes, but I don’t think this is related with the hymn accompaniment. V: Oh it is related. Much related. Same principle, human psychology. What do you think? A: You know what I think. V: (laughs) Okay, okay! So we have different ideas with Ausra, but maybe that’s good because people who are listening also have different ideas, not always agreeable one of us. And they can choose whom to agree with. Tell us sometimes - we need feedback, right? Whom do you agree with more? A: (laughs) Well I think the truth is probably somewhere in the middle between us two. But I remember once - remember when you played hymns too fast in one of the churches and you lost your position. V: And…so I was a leader. A: Yes. V: And I lost the position. A: Yes. V: (laughs) A: But maybe that’s a good thing because I don’t think that congregation was worth your time. V: Bingo! Yeah, if they don’t want you as a leader, maybe they are better with somebody else. So thank you so much, Maureen, for this very thoughtful question. And we hope this was useful to you and maybe a few other people who are thinking of playing in public, in church liturgical setting. So please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Buy Me a Coffee platform and get early access: A: Find out more at https://buymeacoffee.com/organduo Welcome to my short demonstration of the Hauptwerk Martinikerk Groningen sample set by Sonus Paradisi! In my personal opinion this is perhaps the most astonishing sample set that I've ever played. Over the centuries quite a few organ builders worked on this instrument - Master Hermannus in 1450, Master Johan then Damme from Appingedam in 1482, Andreas de Mare in 1564, Anthoni and Adam Verbeeck in 1627/28, Jan Helmann in 1685-1690, Arp Schnitger in 1691/92, Franz Caspar Schnitger in 1728, Master Albert Anthony Hinsz in 1730/39/40, Lohman and later Van Oeckelen in 1816/31/54/55), Jürgen Ahrend and Cornelis H. Edskes in 1976/77 and 1983/84. The organ now consists of 53 speaking stops over 3 manuals and pedals (extended to 54 in the sample set). I'm going to demonstrate most important stops and their combinations by performing Präludium and Chaconne in D by Christoph Wolfgang Druckenmüller from Das Husumer Orgelbuch von 1758. This collection is the most important source of North German organ music after Dieterich Buxtehude. Among other things it proofs that original organ concertos of high artistic quality were played in North Germany in the 18th century. I'd like to thank Ralph Looij who recommended this collection to Vidas and that's how it came to my attention. Score: https://www.sheetmusicplus.com/title/das-husumer-orgelbuch-von-1758-sheet-music/4625283?aff_id=454957 Thank you for your support! If you like what I do, you can buy me some coffee: https://www.buymeacoffee.com/organduo PayPal: https://PayPal.Me/ausramotuzaite My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Listen to my organ playing on Spotify: https://open.spotify.com/artist/2pXxZgiFPMKiqBRYi9rSLT?si=Xe1nTroTSmOGPtv8bP8MSw This piece was dedicated to me by an American composer and organist Carson Cooman. The name Aula parva is one of the most beautiful auditoriums at Vilnius University which houses a small one manual and pedal tracker action organ. I was delighted to receive the score last week and record it there today. The registration is Flutes 8 and 4 in the manual plus Subbass 16 in the pedals with the manual coupler. Hope you will enjoy it! Carson Cooman (b. 1982) is an American composer with a catalog of hundreds of works in many forms—from solo instrumental pieces to operas, and from orchestral works to hymn tunes. His music has been performed on all six inhabited continents in venues that range from the stage of Carnegie Hall to the basket of a hot air balloon. Cooman’s music appears on over forty recordings, including more than twenty-five complete CDs on the Naxos, Albany, Artek, Gothic, Divine Art, Métier, Diversions, Convivium, Altarus, MSR Classics, Raven, and Zimbel labels. Cooman’s primary composition studies were with Bernard Rands, Judith Weir, Alan Fletcher, and James Willey. As an active concert organist, Cooman specializes in the performance of contemporary music. Over 300 new compositions by more than 100 international composers have been written for him, and his organ performances can be heard on a number of CD releases and more than 3,500 recordings available online (representing the work of more than 600 composers). Cooman is also a writer on musical subjects, producing articles and reviews frequently for a number of international publications. He serves as an active consultant on music business matters to composers and performing organizations, specializing particularly in the area of composer estates and archives. For more information, visit www.carsoncooman.com. Check out Carson Cooman's channel on YouTube: www.youtube.com/c/CarsonCooman More information about the organ: vargonai.lt/vargonai_vilnius_aulos.htm Thank you for your support! If you like what I do, you can buy me some coffee: www.buymeacoffee.com/organduo PayPal: PayPal.Me/VPinkevicius My Hauptwerk setup: www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! organduo.lt Listen to my organ playing on Spotify: open.spotify.com/artist/0ckKPIvTWucoN3CZwGodCO?si=YWy7_0HqRvaZwBcovL-RKg Will you join me to wish James Michael Stevens happy birthday! James is contemporary prolific composer from the US. I have recently come across his organ music through my friend James Flores videos. So today let's celebrate composer's birthday with a nice selection of his organ works! Check out composer's scores on Sheet Music Plus: www.sheetmusicplus.com/publishers/james-m-stevens-music-ascap-sheet-music/3001754?aff_id=454957 Thank you for your support! If you like what I do, you can buy me some coffee: www.buymeacoffee.com/organduo PayPal: PayPal.Me/VPinkevicius My Hauptwerk setup: www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! organduo.lt Listen to my organ playing on Spotify: open.spotify.com/artist/0ckKPIvTWucoN3CZwGodCO?si=YWy7_0HqRvaZwBcovL-RKg |
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