In this video I'm playing Organ Trio Op. 49 No. 1 by Joseph Rheinberger at VU St John's church.
Score: https://www.sheetmusicplus.com/title/zehn-trios-fur-die-orgel-sheet-music/3889442?aff_id=454957 Thank you for your support! My Hauptwerk setup: https://www.organduo.lt/tools.html Buy me some coffee: https://www.buymeacoffee.com/organduo
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The other day I went to my church and recorded this beautiful chorale prelude by German Romantic composer Wilhelm Rudnick. I got the score from German organist Gereon Krahforst after I heard him play it in the recital in Maria Laach. In this video the solo melody is played by Vox Humana stop on the Oberwerck. When I was recording it, a group of tourists was walking and talking downstairs. Hope they enjoyed the music too!
Score: imslp.org/wiki/30_Choral-Vorspiele%2C_Op.70_(Rudnick%2C_Wilhelm) Thank you for your support! My Hauptwerk setup: www.organduo.lt/tools.html Buy me some coffee: www.buymeacoffee.com/organduo
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 665 of Secrets of Organ Playing Podcast. This question was sent by Bob, and he writes, I was just wondering if articulate legato applies to all keyboards or just organs? V: Bob is our Total Organist member, and he asked this question recently. And my short answer was that it is applicable to all keyboards. But there are nuances of course. Not only keyboards. All instruments playing music composed before the 1800s, like violin, flute, trumpet, etc. Unless written otherwise in the score by the composer. What do you think? A: Yes, I couldn’t agree more. I think you answered his question. Short and clear. V: Now we can expand, right? A: Yes, you could a little bit. V: So what’s the proof that all instruments played like that before Romantic Period? A: Well you can check famous treatises written by famous musicians. Of course, we are not talking about organ now, because there are lots of treatises about how to play the organ. But if we are talking about other instruments, because the question was about other instruments, you could read the treatises by Leopold Mozart who was very famous composer and actually educator. We know that he was a perfect educator because Wolfgang Amadeus Mozart was his son, but he also was a wonderful teacher of violin, and wrote a very important treatise about playing violin. So you could read that. It has German and English versions for sure, I don’t know into how other many languages it was translated, but you can definitely find it in English. Then if we are talking about flute, then you need to read the treatise by Joachim Quantz. He was a very famous flutist and he worked at the Prussian court. V: So basically, violin treatise by Leopold Mozart applies to other stringed instruments obviously. A: Sure, sure, to all the stringed instruments, not only violin of course. V: And flute treatise by Quantz applies to let’s say wind instruments. I’m not sure about brass instruments, but probably also to some degree. A: Sure. V: So even today, if you watch how string players play a melody, bowing up and down, up and down, up and down - they change the bow. What happens at the instant where the bow is being changed is a micro detachment between those two notes. Down-up. Stronger beats are usually down. So down-up, down-up, down-up - that’s how they play the scale let’s say. If it’s not written legato. A: Yes, and if you are playing of course wind instruments, you need to use your tongue in order to do articulation. V: Tonguing yes. Same with trumpet - also similar. Let’s say with flutes, you play legato only changing your fingering, but with one breath, with one tongue - without any tonguing. But if you play a little bit of tonguing, then those notes are a little bit detached. A: Sure. V: That’s what we would call ordinary touch or articulate legato in keyboard technique. A: Yes, and listening to the early music ensembles, how they perform let’s say cantatas by J.S. Bach, you can hear various instruments that use regular articulation. V: That’s a good question, right? I like when people are wondering outside of their instrument and trying to make connections between other instruments in those periods. A: Sure, and since the organ is also not only the keyboard instrument but the wind instrument, I think we can find close connection about articulation between organ and wind instruments. V: And Bob of course was asking about keyboards in comparison to organs, right? And we’re expanding the question, not only about keyboards but other instruments as well. So Bob needs to know that this articulate legato could be applied to harpsichord, to virginal, to clavichord, what else? A: Yes, to all the keyboard instruments. Except probably modern piano. V: Except modern piano music composed after 1800s. So even playing Mozart let’s say, you could in certain cases play with articulation. A: Yes, definitely yes. V: Right? Probably fast passages of 16th notes. A: Because this knowledge of articulate legato, it existed until I would say Franz Liszt. Don’t you agree? V: Mid-19th century. A: Sure. V: It started to decline during that time, but even Franz Liszt was complaining that in some villages in Germany, they still play with articulation on the organ. A: So, because the tradition was still alive since so many instruments were preserved. I cannot imagine that you would sit down on the Baroque organ and you would play something really legato. V: And in some cases, in some countries, this tradition probably extended even longer, because the instruments remained mechanical with slider chests all the way through the 19th century, like in the Netherlands. A: Yes, you know the poorer church was, the further it was located from the big centers, the better instruments were preserved, because people didn’t have money to rebuild them or restore them, and they basically stayed untouched, luckily for us, that way we know what was at that time, and how the original instruments sounded. V: It sounds like you mean Netherlands were a poor country. A: Well no, but… V: (laughs) A: And actually I was not talking about Netherlands. What I meant more was probably France. V: Yes. France and middle European countries which, for example, have wonderful Baroque organs, not necessarily in the capitals, but in small villages. A: Yes, because like in the big cities if the war would come, all the organ pipes would be made into weapons. V: Yeah, countries like Poland, Czech Republic, Slovenia - there are amazing instruments to explore, and largely unknown to the western world, but they are getting more famous because of virtual organ samples on Hauptwerk. So today you can upload or download those sample sets on your computer and play them on Hauptwerk using realistic sounds from various very exotic countries. A: And it would be really nice to go to visit them, those instruments, and hear how they sound in the real surroundings, and to compare if those sample sets are really as good as you thought. V: What was the first sample set that you discovered, Ausra? A: Velesovo. V: So before that, you probably even didn’t hear, or haven’t heard of Velesovo town. A: Yes, of course I hadn’t. V: Where it was, in Slovenia. And now, if you ever travel through Slovenia or you happen to go with a concert to Slovenia, you would probably look Velesovo up and try to find that church. A: Sure. V: You have a, like emotional connection. A: Because this is one of my most favorite sample sets. V: It sure is. All right guys. We hope this was useful to you. So keep practicing, keep expanding your musical horizons on all the keyboards - not only keyboards, but on stringed instruments, and wind instruments, and brass instruments. This is really fun. And keep sending us your wonderful questions, too. 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 I didn't know about German Romantic composer and organist Wilhelm Rudnick (1850-1927) until this last weekend. But then I went to the recital of German organist Gereon Krahforst in Maria Laach, Germany and he played 2 chorale preludes from the collection of 30 chorale preludes. I liked the style and Gereon sent me the score afterwords. So yesterday I went to VU St John's church and recorded the first choral prelude in this collection - Ach bleib mit deiner Gnade, Op. 30 No. 1. Hope you will enjoy it!
Score: imslp.org/wiki/30_Choral-Vorspiele%2C_Op.70_(Rudnick%2C_Wilhelm) Thank you for your support! My Hauptwerk setup: www.organduo.lt/tools.html Buy me some coffee: www.buymeacoffee.com/organduo Last week I tricked Ausra to record a recital with me without even her realising it. I had my evil plan and here's what happened: After her school work was over I invited her to come to play a couple of pieces at Vilnius University St John's church where I was practicing beforehand. Not only practicing but I actually recording 4 pieces. So when Ausra came, I said why don't she record a couple of pieces by Juozas Naujalis, Lithuanian composer from the beginning of the 20th century and put my organ arrangement of his Reverie in front of her. She didn't seem to object so when she was done, I asked her to play his Trio No. 1 in C Major. Oh, while we were at it, and Trio No. 2 in F Major. So in about an hour she was able to record 3 pieces even though she didn't plan to do so. Then I, of course, said, let's put together a recital out of these pieces we recorded today and premiere next Sunday. That's how my evil plan came into being and now we're both excited to share this recital with you! PROGRAM Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene, Organists Vilnius University St John's Church 7 Dances from Braunsberg Tablature, 17th century East Prussia (Vidas) 1. Dance I 2. Galliard 3. Dance II 4. Chorea 5. Dance III 6. Alia 7. Saltarella Canon in Ab Major by Mikalojus Konstantinas Ciurlionis (Vidas) Reverie by Juozas Naujalis (Ausra) Pastorale in Db Major by M.K. Ciurlionis (Vidas) Trio No. 1in C Major by J. Naujalis (Ausra) Trio No. 2 in F Major by J. Naujalis (Ausra) Prelude No. 3 in G Major by J. Naujalis (Vidas) Subscribe to Ausra's channel on YouTube: https://youtube.com/c/ausramotuzaite Organ by Vilnius Organ Workshop (1983-2000) 64/III/Ped More information about the organ: www.kultura.vu.lt/en/structure/organists/organ-specification Thank you for your support! Buy me some coffee: www.buymeacoffee.com/organduo A long time ago Fraser Gartshore asked his fellow YouTube organists to submit their questions for his Q&A session. So today I'd like share with you my questions as stand alone video. It took me many takes to record a video both in English and German but I did it! Ausra was my camerawoman. Hope you will enjoy it!
Thank you for your support! You get early access and I get to keep going. My Hauptwerk setup: www.organduo.lt/tools.html Buy me some coffee: www.buymeacoffee.com/organduo
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! Vidas: Hi guys! This is Vidas. Ausra: And Ausra. Vidas: Let’s start episode 662 of Secrets of Organ Playing Podcast. This question was sent by Irineo, and he writes: “Hello there, dear maestro. Thank you for your latest SOPP about Unda Maris. I really enjoyed it. But I have a question: who's the composer of that fantastic G-Major piece you played from 21:00 until 23:17? It sounds early baroque to me, but I can't really say whether it's Bach. And what an AWESOME Bombarde 16' does that organ feature! Where is it located? Sounds just as beautiful as that Jacek Siedlar instrument where Maestra Motuzaite also played a recital for which I congratulated her a while ago, if you recall. Keep rewarding us with those great treasures, maestro. Say hello to Maestra Motuzaite for me, will you? Very truly yours, Irineo.” Vidas: So Ausra, “Hello!” from Irineo! Ausra: Yes, wonderful letter. Do you recall about which piece he is talking about? Vidas: I wrote him an answer like this: “Thanks Irineo! In that video during Unda Maris rehearsal I harmonised and improvised on the chorale tune Komm, Heiliger Geist, Herre Gott using Sonus Paradisi's Hauptwerk sample set from Martinikerk Groningen (Schnitger organ). From 21:00 was the last variation on that hymn tune. Sorry if it sounded like Bach but it was my improvisation.” Vidas: So, what can you add, Ausra? Ausra: Well wonderful, you know, if people already think that this sounds like Bach, I should congratulate you on improvising so well. Vidas: While we are on this topic, I remember checking one video by Sietze de Vries, where he was improvising on some Genevan Psalm Tune, and in the description of this video, there was a YouTube content ID where they mixed up this video music with some piece of Bach performed by a famous organist from Italy, Andrea Marcon. But that was surely improvisation, you see, but YouTube couldn’t differentiate that. Ausra: Well, yes. Sietze is a wonderful improvisor, and often you can mix his music with pre-composed music. Vidas: And it was funny, because YouTube wrote that there was this specific piece by Bach that was quoted in that video. Ausra: Well, you know, actually many Baroque composers shared similar rhetoric figures that were common at that period. Vidas: Of course, I’m not at that level where YouTube could confuse me with Bach, but it was a nice comment by Irineo, I think Ausra: Maybe YouTube will confuse you with Krebs! Vidas: I think I still have quite a ways to go until I reach Krebs. Krebs was, of course, one of the best students by Bach. I could be a student of Krebs, then, some minor student. Ausra: Yes. Well, could you comment about that Bombarde? Do you like it? Why have you chosen it? Vidas: Yes. I think he is talking about the variation where the left hand plays on that Bombarde 16’, the right hand plays 2 voices on two principles, 8’ and 4’, soprano and alto, and the pedal is playing, I think, a chorale tune in the tenor range with the Trumpet 8’, like this, so it was a very nice combination where the bass was played not by the feet, but by the left hand. I think improvisers should learn all kinds of dispositions to place the tune, either in the right hand, or in the left hand, or in the pedals, and at any pitch level as well, 8’, 4’, and even 2’, and 16’ also. Ausra: Excellent! Vidas: So, I hope this was helpful to you guys, of course if you like improvisations like that, I’ve been following improviser Sietze de Vries, and Ausra later joined me in studying from his improvisation course on Patreon, so we highly recommend it. Right? Ausra: Yes, although there are some deficiencies in his course, but it’s fine. Vidas: Can you tell us what you would like to improve in this course? Ausra: Well, he could be more specific, you know. He promised to send, for example, to include the sheets of hymn tunes, for example, already a few weeks ago, and he still hasn’t done it, so, that’s not a good thing. And I’m saying that with experience from myself while teaching for many years, because if you tell your students you will do something, you really have to do it. Otherwise they won’t respect you. Vidas: And of course, they can’t practice as much as you expect them to practice without those notes. Ausra: Well, they never practice enough. Vidas: So they will not improve! Ausra: Sure. Vidas; Right. Okay guys, we hope this was helpful to you. Keep sending us these wonderful questions and we will try to answer them during the podcast conversations like these. Okay? Thank you guys, this was Vidas, Ausra: And Ausra! Vidas: Stay tuned for our future podcasts, and remember, when you practice, Ausra: 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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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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