Would you like to master Prelude and Fugue in C Major, BWV 545 by J.S. Bach?
I have created this score with the hope that it will help my students who love early music to recreate articulate legato style automatically, almost without thinking. Thanks to Alan Peterson for his meticulous transcription of fingering and pedaling from the slow motion videos. Advanced level. PDF score. 6 pages. 50% discount is valid until February 16. This score is free for Total Organist students.
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 151 of #AskVidasAndAusra podcast. And Daniel asks about figured bass. Do you know, Ausra, what’s the definition of figured bass? A: Well, I don’t know the exact definition, but I definitely know what it is. It’s a common practice which was used in the Baroque period. V: This is a system, basically, which was created to help musicians to perform--on the spot--harmonically and sometimes polyphonically complex pieces. Right? It’s like an abbreviated system of writing. A: Yes, it’s an abbreviated system of writing. It actually saved time. It saved paper, because basically you had only the bass line written out, and you have numbers, you know, underneath that bass line; and depending on those numbers, you know what the harmony should be, and then you just have to add other voices to the bass line. And actually, on that thorough bass, figured bass, it’s all based on the common harmony. V: What happens if you don’t have any numbers above the note? A: Well, it just means that that chord needs to be a triad. V: What do you mean, triad? What is this? A: Well, if you don’t have...Let’s say you have, you are in the key of C Major. You have this C note in the bass, and you have no numbers. It means that you need to add E, G, and C to that chord. So you had to have the triad, or a fifth chord. V: Ah, like C Major chord. A: Yes, like C Major chord--C Major tonic chord. V: Uh-huh. A: And that’s usually what is meant, when the note that doesn’t have any numbers. V: Do these exercises or figured bass lines have multiple levels of numbers, or just one? A: Well, yes, yes! You can have one, two, three numbers... V: Sometimes four. A: Yes, sometimes four. V: Because in the RH you can play 4 notes. A: Yes. And it can also indicate such things as nonharmonical notes, for example, suspensions that were so common in Baroque music. V: If you need some advanced knowledge on how, let’s say, Johann Sebastian Bach treated figured bass, then we would definitely direct you to Dr. Pamela Ruiter-Feenstra’s website to find out more about her recent treatise on Bach and improvisation. A: Yes. But maybe we could give like, some examples of how to read figured bass. For example, what would you play if you had like, a 6? Number 6 underneath the note. What do you need? V: Major or minor first inversion chord. Right? A: Yes. V: So, if a 6 is above the note C, I would play C, E, and A in the RH. Or, just E and A in the RH. Or E, A, E in the RH, or A, E, A. It depends on the texture you want to create--three or four part texture. A: Sure; because you know, while playing figured bass, you don’t only have just to keep the right note, you also need to do correct voice leading. So you have to know what to double, for example. So, if you have, let’s say, numbers, as you talked about, that C Major chord, you would double the C note. For example, you have the 6 chord, the first inversion of, you know, a fifth chord. Then you would have to repeat either… V: A root. A: A root, or a fifth. V: Yes. A: But not the bass. So, for example, if let’s say a first inversion of the tonic chord in C Major is E, G, C, you would repeat either G or C, but not E. Because if you would repeat E, then you would have a hard time connecting it rightly with the next chord. V: But it’s still possible, right? At school we don’t allow it… A: It’s...it’s possible, but usually you need to avoid it. V: What’s the best way to avoid parallel fifths, if you have, let’s say, 3 notes in the RH and 1 in the bass? A: Well, the best way is, if you bass moves down, then your other 3 notes would move up, so in an opposite direction. V: Or, if the bass moves upward… A: The other three notes would move down. V: And then you will not create any forbidden intervals. A: Yes. So basically, that number which is marked underneath the bass line shows you the note which has to be above the bass. V: Or a few notes... A: Or a few notes. V: Like sometimes a 6 chord is notated in numbers, right? Like above the note C, it could be 3 and 6. A: Yes. V: Or double, you know. A: Yes, and also, sometimes you could get accidentals, or some rhythms either next to a number, complete number, or in general. For example, if you are in the key of a minor, and you have a note E in the bass, and you have no numbers but you have, for example, a sharp written in, it means that it will be a dominant chord, with a G♯. It would be like E, G♯, B. V: Or instead of F♯, they would write a plus sign. A: Yes. This is also a system. V: Mhm. And a flat would be maybe sometimes F Major or d minor, right, when you have to lower some things. A: Yes. And what about, like, adding extra notes or creating something on your own? Could you do that? Well, you’re reading figured bass…! V: That’s what Bach did. A: Or you just have to play strictly the chords. V: People usually think that the right way to play figured bass, or basso continuo in Italian, is by providing chordal texture: 3 notes in the RH, 1 in the bass. But historically, it’s just a preliminary way to a more advanced type of playing. Johann Matthesohn wrote 2 treatises on figured bass: it’s called Generalbass Schule, because in German, Generalbass is bass. So, he wrote 2 treatises, 2 parts: one was Kleine Generalbass Schule, meaning the short one, right? A: Yes. V: And then Grosse Generalbass Schule, like the magnum opus, like the great school of figured bass. It’s an extension of the first preliminary method. So guys, when you are more advanced in this, so don’t play just the chords. I think you need to think in terms of melody. A: Yes, and don’t you think that tempo of the piece will dictate to you how many additions you can play, or add? That, for example, if the tempo is very fast, you might not be able to add so many extra notes. V: So maybe then, you don’t need those multiple notes per chord; maybe you just need to have one upper voice in the RH. But melodically interesting, like in a gigue, right? You could have triplets and dotted notes in the RH, imitating maybe the LH too, in rhythms, and they would have this conversation… A: Like dialogues. V: Yeah, that’s what Pamela Ruiter-Feenstra always says. “Dialogues,” “duets,” and there is a recent addition to that...She calls it maybe “contrasts” or some other things probably. Dialogues and duets are the most important, right? A: Yes. V: In good music, parallel sixths and thirds, sweet intervals, you create duets, and dialogues you create by imitating the rhythmic and intervallic motion. A: What about the modern editions? Would you prefer to play from the modern edition where all that figured bass is written out for you, or would you like to create your own upper voice? V: People who are risk-takers, I think, should try at least to practice from original notations, and supply the missing parts themselves--right? Because in modern editions, it’s just one way that the modern editor suggested. But remember, every time you play, you could play something different, because it’s a part of the improvised, extemporaneous performance practicing. And once you can do this, Ausra, do you think that it will lead you to think like polyphonic playing, like even fugues, fuguettes? A: I think so. Because I believe that fuguettes and fugues are also based on that figured bass. V: Yeah. They’re called partimento fugues. A: Yes. V: It also has just one bass line, and sometimes the clefs change, but it basically also has figured bass symbols with some entrances of the subject notated so that you know in which part and which octave you should reenter the soprano, alto, tenor… A: Yes. And you’re talking about Baroque fugue. We’re not talking about Renaissance fugue, which was based on a little bit different technique--not in figured bass. V: More like ricercar. A: Yes, that’s true. V: Excellent. So, go ahead and explore some interesting exercises in figured bass that we mentioned. There is a good treatise continuo according to Handel, right? A: Yes, that’s a very good book. V: Short and sweet and not too difficult. A: Yes. Yes, exercises, and some music in it, you know, like pieces that you could play based on the figured bass. V: But if you’re really serious and curious about it, Pamela’s improvisation treatise will be extremely beneficial to you. A: Yes, of course if you are even more interested, you could go to original sources like Johann Mathessohn an excellent source to look at. V: Excellent. Do you think that we need to provide a course like that for students of our own? A: Well, I don’t know how many would be interested. Maybe you could let us know? V: Yeah, if there is such a need. But we did sometimes, with a few pieces like Johann Ludwig Krebs created this Clavierubung collection in 3 parts, and in the first part, he has 13 chorale preludes which have at most 3 parts; and at the end of the setting of each chorale prelude, there is a harmonization of the chorale, and with basso continuo, or with bass notation. A: Yes, yes. Yes, but it’s even easier, because yes, it has a bass line...does it have a soprano line or not? V: It does have. A: It does have; so you just have to fill in 2 missing voices. V: And we have notated Allein Gott in der Höh’ sei Ehr, and Jesu meine Freude, I think. And also missing those inner voices for figured bass realization A: Yes. V: If you want to look at it. A: And actually, you know, in Krebs’ piece, you can already hear that his harmonizations are getting more...sort of...modern, compared to earlier composers. You can see that he’s like, a liberal. Already beyond Baroque music. V: The last master of the Baroque. A: Yes. V: Okay, thank you guys, for sending us your questions and feedback. We love to know how it goes, how your practice goes, and looking forward to getting more of your questions and feedback. And remember, when you practice… A: Miracles happen. If you liked my PDF score of Leon Boellmann's Toccata or Introduction-Choral from Suite Gothique, Op. 25, I'm sure you will enjoy his sweet Priere a Notre Dame.
Thanks to Jeremy Owens for his meticulous transcription of fingering from the slow motion video. Intermediate level. PDF score. 4 pages. Check it out here 50% discount is valid until February 12. This score is free for Total Organist students. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 150, of #AskVidasAndAusra Podcast V: Today’s question was sent by Daniel, and he asks, what is Passacaglia. Oh, that is a fascinating question, right Ausra? A: Yes, I like it. V: Would you like better, Chaconne, or Passacaglia? A: Well, they are so similar. V: In what way? A: Because they are both Baroque time pieces and based on them, repeated bass, basically lots of variations on the repeated bass. V: They call it ground bass variations. The proper term is. And it’s the most ancient probably type of variation setting, right? A: Yes, I believe so, or one of the oldest. V: What happens in this dance, the origin of this dance is Spanish, right? Passacaglia. A: Yes, I think so. V: Spanish, solemn, maybe funeral procession, or something. A: I’m not sure about it’s original purpose, but yes, it’s not a fast dance, not a gigue. V: It’s in 3/4, ternary Meter. A: Yes V: And usually has a pickup of a beat. A: That’s right. So what is the favorite Passacaglia? V: I have a few. Obviously I cannot omit Bach’s Passacaglia, and Buxtehude’s Passacaglia. Those are two of my favorites probably. And they have similarities too. A: Yes they are quite similar. V: Mmm, hmm. And the structure of the theme is quite stable in a lot of pieces. Bach for example is 8 measures long, and throughout the Passacaglia, Bach keeps the structure of the theme intact. This means that the composer only varies the harmony and figuration in the hands but the bass line basically is stable. A: Yes, it just keeps repeating that theme. V: Unless the pedals play figuration based on the future. A: That’s true, yes. And I think that in general the Passacaglia and Chaconne are very suitable for improvisation. What do you think about it? V: Definitely. If you could think of just eight chords, each would fit within one measure, you could create nice Chaconne or Passacaglia. There are minor differences but they are related. Because then you only have to change the figuration in your hands and the bass line could remain the same. A: Yes, and in that way when you learn to play the subject well on the pedals, you can just do it on the hands what we are doing. V: Yeah, I think that sometimes this theme could be 4 measures long too. A: Yes, especially for beginners, if you want to learn to improvise. Because you have to a subject that is eight measures long. V: Traditionally there are some patterns for the theme which are historically very popular, right, in real compositions, like tetrachord up or down, ascending or descending tetrachord. Let’s say you are in C major, and you need only four notes, C, D, E, F, and then this last F implies the subdominant function, right? But it’s not good to finish the theme on the subdominant, you need dominant. So maybe the C is a dotted quarter note, dotted, I mean a half note, then D is a dotted half note, E is also the same length, but E could be shorter, or F, F could be a half note, and G, the last note of the theme, could be a quarter note. What do you think about that? A: Yes, I think it would work. V: C, D, E, F, G. Like that. And you repeat it over and over, with different different chords, or the chords could be the same actually but different figuration. A: Yes, I think that is a good way, in such a way, to learn different Baroque patterns. V: Ausra, what is the general reaction that this Passacaglia or Chaconne would take? I mean do you start from the slow and speed up or from fast movement figures and slow to down dotted half notes, or some other way? A: I think usually you would have to probably build up each variation. So C goes fast figurations for the end of the piece. That way it sounds the most exciting I would think. And you would have to build climax. V: Exactly, so start with maybe quarter notes, and then eighth notes, and triplets, eight note figuration and them later may 16 notes. A: 16th notes, and maybe you can even add to that 32nd notes. V: Yes, if you have dexterity of the fingers. The same could be done with descending tetrachords, right Ausra? A: Sure. V: In C major, C, B, A, G. A: And you would return to the dominant, which is very good. V: Naturally, four notes. A: Yes. V: Should be enough. Then you would repeat, C, B, A, G; C, B, A, G. And change the figuration. The same could be done in minor too. A: Yes. And for example, if your subject is major, in the middle of the piece you switch and do one variation in minor key. V: Like in Buxtehude, I remember Passacaglia in d minor, he has one, two, three, four sections. And it’s interesting because d minor Passacaglia, the first section is in d minor in the tonic, and do you know Ausra, how many variations? A: Seven, I believe. V: Exactly! Like seven planets, or seven days of the week. A: I know there are so many mysterious stories of about Buxtehude Passacaglia. I don’t know if you have to believe them all but they are fascinating. V: And after that, of course, the composer modulates through a short interlude, four measures I believe, to another key, the dominant, right Ausra? A: Yes. V: Which is? A: A Major. V: Or minor. A: Or minor. V: It could be both, right? So, then the next set is also seven variations long, in a minor. And after that, Buxtehude moves to, I believe, F Major. But we might also mix things up sometimes, maybe, d minor, F Major, and a minor, sometimes, d minor, a minor, and F major. It doesn’t matter sometimes what order you go. A: Yes but these are all related keys. V: Mmm, hmm. But it’s important that you finish on d minor, right? A: Yes. V: So, guys, you could choose that constant number for each key, and then have a set of variations in each key that you like. As Ausra says, a least, two keys, starting dominant, then tonic. A: That’s right. V: Wonderful. Thank you guys for sending your questions. This is really exciting. We love helping you grow, and please remember, to take this advice to the practical level. Because only theoretical implications are not exactly our point or reason for doing these podcasts, right Ausra? A: Yes. The most important thing is to try everything. V: And let us know how it goes. A: Sure. It would be very interesting to find out, if you tried it and how well or not so well it went. V: Thank you! This was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen! These delightful variations of Balleto del Granduca originally were attributed to Jan Pieterszoon Sweelinck but recent scholarship points to Samuel Scheidt as a composer.
I have created this score with the hope that it will help my students who love early music to recreate articulate legato style automatically, almost without thinking. Thanks to David Koch for his meticulous transcription of fingering from the slow motion videos. Intermediate level. Manuals only. PDF score. 3 pages. Check it out here 50% discount is valid until February 8. This score is free for Total Organist students. Welcome to Secrets of Organ Playing Podcast #132!
Today's guest is an Italian organist Walter Gatti. Currently he teaches organ, organ composition and harpsichord at Civico Istituto Musicale “Arcangelo Corelli” (Pinerolo), organ, musical theory at Scuola Intercomunale della Val Pellice (Luserna San Giovanni). Additionally Walter is a teacher of organ, choir direction and choral composition at Scuola Diocesana di Musica Sacra (Pinerolo). Also he is the organist and the person in charge for music at the Waldesian Temple of Torino, dealing with the direction of the Waldesian choir and of organ concerts. Since 2010 Walter is the director of Accademia Organistica Pinerolese. In this conversation Walter talks about his organ practice process, things he's struggling with and is excited about and of course gives advice for struggling organ students around the world. Listen to the conversation Relevant links: https://sites.google.com/site/waltergatti2/home https://www.facebook.com/walter.gatti.39 https://www.youtube.com/user/ignisetaeris https://soundcloud.com/walter-gatti AVA149: Do You Have A Piece Of Similar Difficulty To Handel's Largo With Fingering And Pedaling?2/3/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 149 of #AskVidasAndAusra podcast. And this question was sent by David. He writes: Hello Vidas, I am making progress slowly on Largo from Xerxes. I'm at the point that I would like to also start working on another piece as I finish up Largo. Do you have a piece of similar difficulty with modern fingering and pedaling that you could recommend for me? Also congratulations on 6 years of Secrets of Organ Playing! This is an excellent service and you and Ausra are going a great job! David So this is really nice, that people value our work, right Ausra? Ausra: Yes, it’s always nice to know that somebody appreciates your work. Vidas: So, talking about this question that David asks...he needs help in choosing a similar piece to Largo by Handel, right? Ausra: Yes. Vidas: Do you think that it should be a Baroque composition or a Romantic or modern piece, according to him? Ausra: It depends on what he likes. Probably, maybe, another Baroque piece. What do you think about it? Vidas: He did mention that he needs modern fingering and pedaling. But what he means by this, I don’t know. It wouldn’t hurt to play more Baroque pieces, right? Ausra: Sure. Vidas: Do you think we could recommend something created by Krebs, for example? Right, from his Clavierübung Chorale Preludes, like Allein Gott, or Jesu meine Freude? Ausra: Don’t you think this would be too hard, compared to Handel? Vidas: Jesu meine Freude? Is it too difficult, you think? Ausra: Well, yes, you have to have quite good manual technique. Vidas: What’s so problematic about Jesu meine Freude? Sixteenth note runs, or…? Ausra: Well, yes! Vidas: Anything else? Ausra: You would need to have much better technique already, compared to that aria of Handel. Don’t you think so? Don’t you agree? Vidas: And it doesn’t have pedals. So maybe he needs pedals, right? Do you think we could recommend a piece by Johann Sebastian Bach, like chorale preludes or something? Ausra: Well, of course. Vidas: What would you suggest? Ausra: Are you thinking about Chorale Preludes, or about free pieces? Vidas: Both. Let’s say both. And first of all, let’s say a free piece, like 3 or 4 pages long, maybe. Ausra: Well, this could be one of the Eight Little Preludes, like g minor, for example. Vidas: It would seem like it would be a good choice, g minor, because the prelude is rather slow, and the pedal work is not too complex, and the texture is very chordal; but then the problem is with the fugue, right? Ausra: Yes, the fugue is much harder than the prelude. Vidas: What is complicated about the fugue, Ausra? Ausra: Because you have to master all those notes that are equally important; and already the pedals are quite complicated. Vidas: Do you think that David could start on the pedal part right away, instead of playing from the beginning? Ausra: Of course. You always need to learn the harder spots first. Vidas: What else would you recommend that he could play, like maybe a Chorale Prelude, three or four parts…? Ausra: Maybe some Preludes from the Orgelbüchlein, or from the Notebook of Anna Magdalena Bach. Vidas: Mhmm. Ausra: Or… Vidas: Dances? Ausra: Yes. Vidas: Dances should definitely be doable. And from Orgelbüchlein, things like Ich ruf’ zu dir. Ausra: Yes, because it’s a slow tempo, yes. Vidas: Or even maybe O mensch bewein, but… Ausra: Well, that cantus firmus is so ornamented, it’s not that easy to play. I think Ich ruf’ zu dir is easier. You could even decipher the chords in this piece. Vidas: Easier. So maybe O Mensch bewein could be for later. Ausra: Sure. Vidas: But it’s very beautiful. Ausra: Yes, it’s very beautiful. Vidas: One of the most beautiful pieces from the Baroque period. Ausra: I agree. Vidas: Excellent. Could we recommend something for David and people like David in that level--maybe from the Romantic period? Ausra: Of course, there’s a lot of music you can play from the Romantic period. Vidas: Maybe...Let’s say, some French music--like, Vierne wrote this beautiful Berceuse, remember? Ausra: Yes, it’s very nice, and not that hard. Vidas: It could be played with pedals or without pedals. Ausra: Both ways, I believe. Vidas: Both ways. And it’s worth trying. Ausra: Yes, and there’s also that, you know, collection of so-called L’Organiste by Cesar Franck, which is also doable and not that hard. Vidas: Mhm. Ausra: And you can also play it without pedals, because it’s intended to play on the… Vidas: Harmonium? Ausra: Harmonium, yes. Vidas: Good. I think people could find a lot of suitable material in this collection, too. And remember, you have to use modern fingering and pedaling, right? We haven’t, I think, prepared any scores by Franck yet. But we did write down fingering and pedaling for Berceuse by Vierne, Allegretto by Vierne, but it’s a little more complex. But not too much. And then, I think, Meditation by Vierne is also a similar slow motion, meditative piece. That could be possible. What else? Or is it enough for starters? Ausra: I think it should be enough for starters. Vidas: Mhm. It’s best, guys, to try just a few pieces, and master them to the best of your ability--to spend some time, right? Right, Ausra? Ausra: That’s true. Don’t practice too many pieces at once, because then your progress will be very slow. Vidas: Unless you want to sightread things, like… Ausra: Sure. Vidas: Do you recommend sightreading, Ausra? Regularly? Ausra: Yes, it’s always beneficial to sightread things. Vidas: How much time should you spend, or could you spend, every day? Ausra: Well, I would say at least 10 minutes. Vidas: So, do you think that in 10 minutes usually in a slow tempo, people could play through maybe a couple of pages, right? Ausra: Well, it depends on how long your pages are. Vidas: Mhmm. Ausra: And how advanced you are. Vidas: Maybe some people could play 5 pages in that tempo, right? Ausra: Yes, yes. Vidas: So, a piece or two, right? Generally not too long. So, choose your favorite collection that you love, and of course you will be on your way to mastering sightreading as well! It’s very beneficial in the long run. Anything else, Ausra, you could recommend? Ausra: Well, just keep practicing every day. Vidas: Yes. Try not to skip a practice. On your calendar, you could mark X, X, X, on each day; that will be a wonderful feeling after one month or two months or three months. Thanks, guys, for listening, and applying our advice in your practice. This is really fascinating for us, to help you grow. And send us more of your questions, right Ausra? Ausra: Yes, we are waiting. Vidas: And remember, when you practice… Ausra: Miracles happen. VIDAS: Hi, guys. This is Vidas.
AUSRA: And Ausra. Lets continue our discussion from yesterday about articulation in baroque music. Listen to the audio version here. A: You just not play like non legato, but you know you think about the meter, you think about strong and weak beats. V: But that is another level of sophistication, right? A: Certainly. V: Not every note is full of value then and in duration but before the strong beat you are to play it more. A: Yes, that is true. V: Or before the relatively strong beat such as the third beat in the 4/4 meter. You also articulate a little bit more than before the second or the fourth beat. A: Yes, that is correct. And you know I believe it’s hard for people who were studying in their youth to play Bach legato and now they have to relearn it. And George Ritchie and Quentin Faukner, our professors we were both taught to play legato Bach when we were young. And we had to actually to adjust and to relearn it and they just succeeded in doing that so well. V: So what does it tell you, Ausra, what qualities should you retain even if you age. A: Well I think you still have to retain a high quality V: I mean, quality in your character; if you all the time, all your life have learned a certain way, right, and then styles change with times, and you still continue to play in a certain way you are sort of left behind, right? So what I mean you should stay curious about new developments in your research. A: Yes, certainly. Don’t trust that old saying that an old dog cannot learn new tricks. That is probably not true. I am talking about us, in general, you know people, human beings. V: Yeah, we can learn new tricks all the time. A: Yes, and if you don’t trust us, play or listen to different recordings when Bach is played legato, and when it is played non-legato. YouTube is full of excellent recordings. V: And listen to baroque violins... A: Sure! V: Bowing, down, up, down, up. At the instant that the player changes the direction of the bow, there is a very short, almost imperceptible silence, but that is articulation. A: Yes, that is true, yes. V: So it should be a singing manner, cantabile manner of singing, such as Bach described in the title page of his 2-part inventions. Don’t play in a choppy manner, but try to physically sing the parts. That is a good practice too. A: Yes, I think it takes years and years to master all the baroque articulation. It’s a separate world within the organ world. V: And if you want to master it easier, then simply apply early fingerings, right? A: Sure. That helps too. V: We try to help you by providing you with early music scores like that, so that you have instant fingering and further linking your organ pieces. You can start practicing right away almost without thinking. It’s given, it’s almost automatic because it works in a way that the fingering will produce perfect articulation. A: Yes, it helps. It means that if you choose your pedaling and fingering correctly then you don’t have to worry so much about articulation because it is automatically done. V: Wonderful. And of course if you compare organ with wind instruments, there is another similarity, right? Like tonguing. Each not is also articulated, unless they are playing legato. A: Yes, that is correct. V: Like tah tah tah tah tah. Each note is articulated in, let’s say, oboe or flute, and trupet players do the same in their way. So it was a widespread practice, across the board, in all musical instruments, in the music composed, I would say, up until the 19th century. A: Yes. V: Or even sometimes into the 19th century, right? A: That is true. V: Remember the famous saying of Franz Liszt, which he spoke while he was traveling through the villages of Germany, and that he was amazed that some people in those villages were still playing with an articulated manner in the middle of the 19th century – which means really that this articulated legato did not go out of fashion overnight on January 1, 1800. Someone decided ‘no, no, no, you should be playing legato and suddenly they began playing legato. But it was a very gradual process partly dictated by the composers together with the instrument builders, because the style of instruments changed, and the style of music changed as well as the fact that the style of composing also had changed. It was similar to opera and piano music, really, and symphonic music. That is how legato touch came into fashion. A: I know, and this is a reminder that we must choose our music appropriately to fit our instrument. If you are working on a baroque instrument don’t choose music by Reubke. If you are playing on a Walcker organ or a Cavaille-Coll organ then don’t play Estampie Retrove from the Robertsbridge Codex from the 14th century. V: I remember my first mistake in articulation when I was in the 10th grade. I was just starting to play the organ, and my first organ teacher had me choose one of the chorale preludes from Bach’s Orgelbuchlein. And she reminded me that you should use articulation between the voices. But at the age of 16 what did I understand about articulation? So for ten years before that I was taught to play everything legato. I could not simply change my playing style overnight. So over the course of two weeks I learned some episodes of that chorale prelude – I believe it was Jesu Meine Freude – and it was all legato. My first teacher was infuriated over that and said ‘you should not have even played this piece at all over those two weeks. Now you have to relearn it and it will take you months to change your playing style.’ So guys remember to think about the correct articulation from the start. It pays off in the future. And remember: when you practice... A: ...miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 147 of #AskVidasAndAusra podcast. Today’s question was sent by William. He writes: “Thank for all the help you have helped so many organists. My question is about articulation of Bach. When I went to school I was taught to play everything legato. I am now reworking the first organ works I studied e.g. 8 Little Preludes and Fugues by Bach. Are all notes legato. I have found I can make them much more exciting. But what about Orgelbuchlein? Are the themes played strictly legato or articulated. I play in Cathedral with 6 seconds of reverb. Same with choral preludes of Buxthehude. Are they ever played legato? E.g. Our Father In Heaven (Vater unser im Himmelreich). Third movement in d minor. Melody is beautiful. But is it played legato?” V: So this is very important question for organists, right? A: Yes, a very important question, and to make the long story short, it was a period, quite a long period when all Bach music was played legato, but then there was a movement I believe, one of the starters was Ludger Lohmann who defended his dissertation about Bach articulation. And basically we need to thank people like Ludger Lohmann and Harald Vogel who recreated the original performance practice of Baroque music, and all the music by J.S. Bach, Dieterich Buxtehude must be played in articulate style. So basically almost non-legato must be used in Bach or Buxtehude or these contemporaries music. Because that’s what historical instruments tell us. V: That’s right, Ausra. And sometimes there is some confusion even in historical sources. Like this title page of Bach’s two-part inventions and three-part sinfonias. He writes that they should be played in cantabile style. So in the middle of 20th century when people were issuing modern editions of these beautiful little gems, they thought they should be performed legato, cantabile style, singing style. But taking into account how other instruments were articulated at the same time in the baroque period, like violin or wind instruments, they all articulated with small spaces within in each note, unless composers indicated otherwise with slurs. So, doesn’t it, Ausra, seem to you that articulation in keyboard instruments is similar to those melodic instruments? A: Sure. It must be the same. V: Mmm, hmm. A: Because that’s the style it requires. And I also remember when I was a student at the academy of music, I had to go to Siauliai, the city in northwestern part of Lithuania, where they have each year sort of big sacred music festival. And that year I had to go and to be assistant to one professor who came from Germany, with another man, professor Conrad Voppel and he was complaining to me now that all German now days are full of young organists and his meaning that those young organists at that time were almost like 40, 50 years old. You know Ludger Lohmann mong them, I believe. And he was telling me, they play Bach, and articulate his music, and they call it Bach style, and he was just outraged. V: Mmm, hmm. A: Well, and I understand him because he was actually a student of legendary organist Karl Straube. V: Oh, yeah. A: Yes, and at that time, Straube in Germany and Dupre in France, were really the most famous organists I believe in the world at that time. And Straube told him to play Bach legato. And there were only some particular place where you articulate like maybe at the end of phrase or at the end of a period, that’s it. But it was a romantic tradition to play Bach like this. But, you know, if you don’t believe us, that Bach needs to be played articulated, come to Europe or then go to America to places that have historical Baroque instruments and try to play legato on those instruments and you will see that it’s basically impossible. V: Impossible, what, to play legato? A: To play legato, yes. V: Why? A: That’s the nature of those instruments. V: What makes it so difficult to play legato, let’s say with pedals? A: Pedals are almost impossible to play legato. That’s true because the keys are much, much, much shorter compared to romantic or modern instruments. And you probably would break your leg if you tried to play legato. It’s just physically impossible. V: Personally I’ve played a number of these historical organs, where your foot doesn’t fit on the pedal bar. Your heel cannot play the pedals at all. A: Sure, yes. V: You have to play with toes, A: Yes. V: Right? A: Yes. V: A number of them. A: Yes, and how would you play legato on the pedal bar unless you play Bach and play legato only with your toes, that’s impossible. V: Unless you slide them in glissando fashion, but it’s also not the case historically. Remember, that many organists back in the day practiced on clavichords. And with clavichords, you have to have a decent touch and it only sounds well when you play with toes. A: Yes V: Not with heels. Although, I heard some modern organists try to master a sonata by Julius Reubke, romantic piece, famous master work in legato fashion on the clavichord. It’s just for fun, of course. So it’s possible but in a concert situation doesn’t sound well. A: So, yes, I think that appropriate music must be played in appropriate style. So in Baroque music, use almost no legato, and in romantic music, we play almost everything legato. V: Except, there are exceptions. A: Right, there are exceptions. V: Like repeated notes, like other instances where the composer has indicated ending of the slurs, ending of the phrases you have to breathe, and the breathing and the articulation then is very precise and you have to shorten it by a certain rhythmic value. A: Yes, and for example in Baroque music, you can play legato some of, for example, so called famous style motif, where you play legato two notes, V: Mmm, hmm. A: And play sort of prolonged first note: té-dem, té-dem, té-dem. V: But you know Ausra, it all is relative, depending on the acoustics, right? Sometimes, like William says, he has six seconds of reverberation. A: So the larger acoustic you have, the more articulation you need. V: Even if you want to achieve legato, then you have to perceive that your listeners should hear legato, not you, right? Like downstairs in the pews, it should sound those few notes legato, then you probably still need to articulate upstairs in the balcony. A: Sure, yes. And another thing I wanted to tell you about Baroque music when you have to play at least some legato. When you are playing chromatic pieces, sometimes you have to play legato. And the so called Toccata per Elevazione, Italian style. V: Dissonances and suspensions, right? A: Yes, so in those places you also have to play some legato. V: Or in Baroque compositions which remind you of those styles, sometimes episodes with dissonances, dissonant chords and suspensions, they need to be played legato then. A: Yes. V: And remember, when you practice… A: Miracles happen! |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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