SOP Podcast #127: Dina Ichina And Denis Machankov On Trusting Your Ears And LIfe-Long Study12/31/2017  Before we go to the podcast for today, I wanted to remind everyone that until January 2nd you can buy any of our practice scores and training programs for half price.
Discount code Christmas2017 is applied automatically at the checkout in our Secrets of Organ Playing Store. Total Organist is half price also! Happy practicing! Welcome to Secrets of Organ Playing Podcast #127! Today's guests are Dina Ikhina and Denis Makhankov who are a family duo of young organists from Russia. Yesterday the organists have performed for the first time in Vilnius St. Johns’ Church Organ and presented before the New Year's Eve a concert entitled "Farewell to Old Year", in which the audience enjoyed the works of J. S. Bach, P. Tchaikovsky, A. Chekalin, A. Pärt and other composers. Dina was born in 1986 in Saratov, Denis – 1988 in Ivanovo. Both studied organ music in St. Petersburg under a well-known Russian Federation artist prof. D. Zaretski, later harpsichord under prof. I. Rosanov and have acquired postgraduate degrees in Music. Since 2014 these organists perform together. The duo concert program consists invariable of pieces by modern composers. Currently, the organists perform in Russia and throughout Europe, also teach at the St. Petersburg N. A. Rimsky-Korsakov Conservatoire and at city music schools, organize organ music festivals in Russia and Estonia. At the same time, the organists work in the famous Arts Palace in Kondopoga, Karelia, and also organize the annual “Grande Orgue” International Organ Music Festival. Dina and Denis are among the founders and organizers of the project "Organ Concerts in Pechory". The project collects funds for the restoration of the historic Pechory (Pskov Region) organ of the St. Peter church. They were awarded the State Prize "National Recognition 2015" in the Initiative category (Pskov, 2016) and the Pskov Administration Award for this project. In this conversation, Dina and Denis talk about their organ playing adventures and give such wonderful advice as not being afraid to try new things, trusting your ears, life-long study, consulting with experts and trying out many instruments with different acoustics. We had this conversation at the restaurant so the environment is a bit noisy but since my guests talk rather slowly in English, I hope you will be able to follow it. Listen to the conversation And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. If you like it, feel free to subscribe to our channel on Musicoin. By the way, you can upload your own recordings to YOUR channel to maximize revenue. If you have some audio recordings of your organ performances, you can do the same. Feel free to use my invitation link to join Musicoin: https://musicoin.org/accept/MUSICa45e5f26ede2be5dd4411747 Thanks for caring. Relevant links: Dina and Denis on Facebook Vidas: Let’s start Episode 132 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by David, and he writes:
“Thank you so much for producing the sight reading course (and for having a cyber Monday sale on your course---I waited a year to get this discount so that I could afford the total organist course). I feel like this is such a basic question.... but on week 1, day 2 of the sight reading course, how does one subdivide, counting out loud, beyond the 8th note in 2:2 time signature? It would be the same as 32nd not in 4:4 time signature, which I have never learned to count aloud.... I have thus far used the 1 e & a 2 e & a method of counting out loud, but that really only works as far as 16th notes in common time or 8th notes in 2:2. How does one vocally subdivide farther than that? If you have already answered this elsewhere, I would be happy to be pointed in that direction. I don't want to ask you to repeat yourself if you have already addressed it.” I don’t think we have talked about it, yes Ausra? Ausra: Well, we talked maybe a little bit about subdivision, but not as complete, like for example how to count 32nd notes. So we might give some tips. Vidas: First of all, we want to say that this course, Organ Sight-Reading Master Course, is based on Bach’s Art of the Fugue. Ausra: Yes. Vidas: And in this particular case, the contrapunctus from the Art of the Fugue--it might be too fast if you count in alla breve time, in 2/2 time. Right? So...do you think that David and others who are taking this course need to play in 2/2 time right away? Ausra: Well, not necessarily; you can do it twice as slow as it is written, and it would still be okay. Vidas: So, 4/4? Ausra: Yes. I would suggest that they would do this in 4/4, at least for starters. Vidas: Because Bach wrote a lot of fugues this way, in his cycle, in which there are only 2 or even 1 beat per measure, right? Ausra: Yes. Vidas: One, and three--yes, 2 beats, in 2/2 time. And when you practice slowly, you need to have more--four, for example. Ausra: Yes. And what I notice about Bach’s pieces and other Baroque composers is that 32nd notes often appear in slow movement pieces--like you know, slow movements of the trio sonatas, or other sonatas, and chorale preludes that have this really slow tempo and ornamented cantus firmus. That’s how he uses it most of the time, in 32nd notes. And like in fast tempo pieces, he uses basically 16th and 8th notes; but 32nds very often appears in the slow movements. So there is no way you need to rush that, that contrapunctus. Vidas: Do you think that people could write in the parts of the measure themselves, in pencil? Ausra: Yes, that would help, I think, especially for beginners. Vidas: Mhmm. Ausra: And you know, how to subdivide, you actually have to do it, the best way to do it, I think, is to do it with your tongue--that you would do it mechanically, and that you would really feel that you are doing it. You can do it on any syllable which is comfortable for you. Vidas: But, to do it out loud? Ausra: Yes, yes! At least for starters. Vidas: Have you seen students playing rhythmically incorrectly, but saying to you that they’re counting inside their minds? Ausra: That’s very often the case, but it means that they don’t count. They deceive themselves. Because if they’re only doing it loudly at first...then you can maybe do it quietly inside. Vidas: What happens when you do it quietly is that you might THINK you are counting equally… Ausra: But you will not do it! Vidas: Yes. Because there is so much to do with your hands and your feet, that sometimes your mind wanders, and your counting rhythm and pulse also fluctuate. Ausra: Yes. And you know, I remember learning a piece called Icarus by Jean Guillou, that I had to prepare. That’s a challenging piece to learn, rhythmically and technically, because this was actually his original improvisation which was written out later by somebody else, I believe. And it has lots of fast passages. And what I did then when I learned the piece was, actually, I subdivided out loud first, and I subdivided 32nd notes. Because usually you look at the piece of music, and you choose the smallest note values, and you subdivide in them first. And that will help you. So, if you know, the smallest note value is 32nd, you subdivide 32nd. If it’s 16th, then you subdivide 16ths. Vidas: This is especially true in modern music, in rhythmically advanced music, right? Like the music of Messiaen. Ausra: Yes. Vidas: Like in his pieces, he uses, I think, additive rhythmic value technique… Ausra: Yes, he adds a little bit with each figure. Vidas: Like for example, you might have a normal 4/4 measure, but with an added 32nd note. Ausra: Yes. Vidas: Or plus 1/16. And this is additive. So you need to keep counting based on that lowest or smallest note value: 32nd or 16th. Ausra: Yes. Yes, and especially when you are learning the text. Maybe after a while, when you know the music very well, you can stop doing that in that particular piece; but for starters, you definitely have to do it. Vidas: So the same as David says in his Contrapunctus from the Art of the Fugue, we recommend subdividing and playing with 4 beats, not 2 beats per measure. Ausra: Yes. Vidas: What would happen if he played right away in 2/2 time, counting just 2 beats? Ausra: Well, probably he would not be rhythmically correct on those... Vidas: Not precise. Ausra: Yes, not precise. And rhythmic precision is very important, especially while playing organ. Vidas: Do you think that people can play not precisely, and think that they’re playing pretty well? Ausra: Hah! That’s often the case, I think. Vidas: They don’t even notice how sloppy their rhythm is. Ausra: Sure, yes, yes. And rhythm is so important; because you know, we all have a heartbeat, so each person who does not even have musical pitch, still has that sense of rhythm. And let’s say if something happens during a performance, if you will keep a steady rhythm, it’s possible that some people even will not notice that you made a mistake and hit the wrong note of a wrong chord. But you know, if your rhythm goes out of the way, then everybody will notice it. Vidas: How interesting! Are you saying that rhythm is more important than melody? Ausra: Well, yes; in some cases I believe it’s more important. Vidas: Why? Ausra: Well, you know, because everybody can count. Everybody can count. Vidas: Do you think that dogs can count, too? Ausra: I don’t know! I mean human beings, all people can count. Vidas: One, two, and three… Ausra: Yes. Vidas: Four. But the melody is sometimes complex, and they don’t necessarily grasp the fluctuations in melody or mistakes in melody-- Ausra: Yes. Vidas: You’re saying that the rhythm is always noticeable? Ausra: Yes, that’s what I’m saying. Especially in the music of common periods, you know...in Messiaen, I think nobody would notice if you are playing something rhythmically incorrectly. Vidas: Or melodically incorrectly. Ausra: Yes, definitely. But I’m talking about music written in the common period. Vidas: With Messiaen’s modes, people might have a feeling that something’s wrong with the notes, if you play the wrong note, because then it’s a foreign color. Ausra: Well yes, but you have to be advanced, I think, in music, generally. Or you know, to have very good musical intuition. Vidas: Thank you guys, this is getting really fun! And send us more of your questions; we love helping you grow. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. PS Kae who transcribes these podcasts for us, wrote that her professors at SPU taught her to say "One-ta-e-ta-and-ta-e-ta" (for 8 32nd notes, or 1/4 of a measure). Hope this helps. My friend told me yesterday, "I don't know what I want to do with my life."
This is normal thought at the end of the year. To think about our goals, about the future, about the direction of our lives will take next year. And I'm NOT talking about New Year's resolutions which will fade away after a week or two. The thing is we can drift or we can swim. All is very well for people who have goals of what they want to achieve next year and plan with steps of how to do it. But what if you're not sure? What if you're kind of lost? The best advice I could give you which works for me is start documenting your life and share it with the world. I'm not arguing here you should start creating something. No, because most people don't know what to create. Because most people are stuck if they can't envision themselves creating the next Michelangelo masterpiece. Perfectionism is a true art killer. In this case the best action to take is to document what you are the most excited about in your life right now. And what you are struggling with in your life right now. And of course what you are currently working on. And you do it in the form of text, pictures, audio or video or any combination of these mediums. Incidentally, these 3 questions are exactly the kind of things I ask every guest of our Secrets of Organ Playing Podcast. Notice that this is exactly what I'm doing in this post right now. I'm remembering what my friend just told me. This hurts and I'm sharing my thoughts about it with you. The idea of documenting and not creating is not mine, as far as I know Gary Vaynerchuk was the first to popularize this concept. I hope you'll give it a try in the New Year. Let me know if this helps. Vidas: Let’s start Episode 131 of #AskVidasAndAusra podcast. Listen to the audio version here. And today’s question was sent by Aleksey, and he wants to know how to play the pedals without looking at your feet. So, this is a challenging situation for a lot of organists, isn’t it, Ausra?
Ausra: Yes, it is. Vidas: Do you sometimes look at your feet when you play? Ausra: Sure, when I’m trying an unfamiliar organ, then I have to look at the pedal first. Then, there are sometimes tricky spots, where I also have to check the pedal. Vidas: Me too, from time to time. Especially when I improvise, I need to look down, because I’m not always sure which notes I will be playing in a second or so. And when playing repertoire, especially on an unfamiliar organ, the feel of the pedalboard is not very easy to memorize. And therefore, some looking is okay, right? Ausra: Yes, some looking is okay. It’s not good if you cannot play pedal at all without looking at it, on the same organ. If you are, let’s say, practicing on your organ every day, and then after practicing for a year you still have to look at it, then it’s not good. Vidas: True. I think one of the most important things here to do for organists is simply to apply pedal preparation. Ausra: Yes, that’s a good idea, you know. It’s very helpful. Vidas: For quite some time--maybe for a few months. And then you get used to the feel of the pedalboard and you no longer need to worry about it; but at first, you have to have a breakthrough. Ausra: Yes. Vidas: So, how do you do pedal preparation, Ausra? Ausra: Well, you know, because there are very few pieces that you use pedal all the time without any rests--usually you have some pedaling part and then you have some rests--so, during those rests, you need to know exactly what is coming up next-- Vidas: In the pedals? Ausra: Yes, in the pedals. And prepare in advance. Vidas: So, for example, if the passage was ended with your right foot, and the next passage starts with the right foot also, you need to slide your foot to the next key, right? Ausra: Yes, that’s right. Vidas: Right away. Ausra: Or let’s say there are sometimes there are passages that will finish on the same note and it will begin on the same note. So don’t move your leg. That will save time and energy, and you for sure will hit the right note. Vidas: A lot of times, people do the opposite. They finish an episode with the pedals, and they place the feet on the, I don’t know, maybe some place next to the swell box, or on the swell box… Ausra: Or behind the bench. Vidas: Exactly. Ausra: That’s what I do often--I put my right foot on the swell box and the left on the organ bench--or a little bit behind it. Vidas: Because it’s more convenient this way. Ausra: Sure. Vidas: How to do this without putting your feet on the place to rest, but slide into the next note position on the pedalboard? Is there a trick you could use to do that successfully and comfortably? Do you know? Ausra: Well yes: just keep your foot above the pedalboard! That’s possible! Vidas: What about sitting on the bench? Does it help if you sit, for example, too deep, or in the middle, or next to the edge of the bench? For you? Ausra: Well, if you sit on the edge of the bench, you might fall down on the pedals. That’s not a good way. And also, not a good way to sit too deep--back on the organ bench. You have to sit somewhere in the middle of it. Vidas: Remember, we usually practice on two organs: here at home and at Vilnius University St. John’s Church. But the height of the bench is different on each instrument, right? Ausra: Yeah. Vidas: Which is lower? Ausra: At home, of course. Vidas: At home. Which is more convenient for you, Ausra? Higher or lower? Ausra: Well, it depends on which manual I’m playing on. Because, for example, at church it’s more comfortable for me when I’m playing on the first or second manual, but it’s uncomfortable to play on the third manual and pedal at the same time-- Vidas: Mhm. Ausra: Because the bench is quite high. Vidas: Exactly. Then, the third manual becomes too far away from you. Ausra: Yes; and you know, it just gets difficult, after practicing for some time. Vidas: What I mean is, I discovered that I also play more comfortably at St. John’s Church when I sit higher, and closer to the edge--not on the very edge, but just enough to keep me balanced. But then my feet are also free to do what they want, and they can slide into position without getting me into trouble; and then I can basically focus my looking on my fingers or the music rack, but not necessarily on the feet. Ausra: Yes, I think that position gives you more mobility. Vidas: Mobility. And if it’s opposite--if you sit too deep on the bench--then what happens? Ausra: Well, you cannot move comfortably. It will take you too much time. Vidas: Then you need to use more of your core muscles. Ausra: I know, and you need to have really long legs in order to reach, let’s say, you know, very far away on the right side, or pedals very deep on the left side. Vidas: So, it’s good advice for people to experiment with the bench height and with the position of your body on the bench, and see if you can find a comfortable way to shift your body when you need to move on the pedalboard; and then maybe you don’t even have to look so much. Ausra: Yes. And you know, sometimes try to play the pedal part alone, and see if you have trouble too, you know, and if you have to watch the pedalboard. But if you are quite comfortable with the pedaling part but you still are watching when you are playing with hands, then maybe it means that something is not wrong with your pedaling, but something is wrong with your coordination. Vidas: In your experience, Ausra, when you work with students, let’s say, in our Unda Maris studio from time to time, do you notice that people like to play pedals alone, or they want to play everything together, more often? Ausra: Well, mostly they want to play everything together. Vidas: Right away? Ausra: Yes. Vidas: Even though the problem might be just to separate the parts, and learn them alone. Ausra: Sure. Vidas: Do you think there is a reason why they choose to play everything at once? Ausra: Well, I think it gives more satisfaction, to hear the full harmony--all the piece. Vidas: You have to sort of postpone your gratification-- Ausra: Yes, that’s right. Vidas: --Until you can do this comfortably, both hands and pedals together. And people nowadays have trouble delaying gratification; they want to have results right away. Right, Ausra? Ausra: Yes. Vidas: Are you one of those people? Ausra: Hmm, well, yes and no. Of course I am--I want to have immediate gratification; but I also understand that things never happen at once. You have to work to get to your goal. Vidas: Do you have to force yourself to work precisely, and according to your plan, and not to give up ahead of time? Ausra: Well, of course, yes. I think everybody does. Vidas: I see. But it’s worth it, right? Ausara: Yes, it’s worth it. And it’s worth it when you see the final result: it motivates you to do the next piece right, to learn it in a right manner. Vidas: Whenever I catch myself playing with mistakes--even on the pedals, or pedals alone, or all the parts together--I think I need to slow down considerably, right? Whenever I force myself to slow down, mistakes disappear, and I can play more comfortably and more relaxed. Do you have the same experience, Ausra? Ausra: Yes, I have the same experience. Vidas: So the tempo might fluctuate in the same piece-- Ausra: Sure. Vidas: Because some places are more difficult than others. Ausra: Definitely. Vidas: Is that okay, or not? Ausra: Well, it shouldn’t be like this. I mean, you can give yourself some flexibility, but not too much. Vidas: I think it’s okay, as long as you’re conscious of your tempo fluctuations, right? Ausra: Yeah. Vidas: It’s a process of practicing; and you know this is a difficult spot, and you need to slow down, right? You consciously slow down--not because your legs or fingers need to slow down, but your mind says, “I have to slow down, because that’s how I will avoid mistakes.” Ausra: Yes, that’s right. I do that sometimes, unconsciously. Vidas: And then when you’re ready, you can pick up the tempo, normally. Ausra: Yes. Vidas: Good. Do you hope that people can apply this in their practice, too? Ausra: Well, I hope so. You should definitely try. Vidas: Great. Please guys, send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Jesus Is Born And Laid In A Manger (Organ Improvisation) I'm thinking of all our students around the world this Christmas season and sending you this improvisation:
Joseph And Mary Travel To Bethlehem Can you hear how tired Mary is? Hope you have some snow wherever you are. It's almost gone here in Vilnius. Maybe if you do some practice today (even if you're recovering from your Christmas services), it'll snow... ...Because that's when miracles happen. Today I wanted to let our subscribers know that until January 2nd you can buy any of our practice scores and training programs for half price.
Discount code Christmas2017 is applied automatically at the checkout in our Secrets of Organ Playing Store. Total Organist is half price also! Happy practicing! The Annunciation (Organ Improvisation)  This Christmas Ausra and I have recorded a special song for you. Hope you will recognize the melody:
12 Days of Organ Playing Merry Christmas!  Welcome to Secrets of Organ Playing Podcast #126!
Listen to the conversation Today is Christmas Eve! Merry Christmas, Blessed Season Greetings to our every listener and subscriber! I'm so happy that we've been doing for a while these podcasts and we're continuing our Secrets of Organ Playing journey for 6 years now and Ausra and I hope to help you grow as an organist for many years to come. And today a special guest is visiting Vilnius University St John's church. This is an English organist James Spanner. James recently contacted me ahead of time that he and his wife will be visiting our country and enjoying pre-Christmas season and I let him play the largest pipe organ in Lithuania. Our conversation was recorded just minutes after Jame's practice on this organ. He played a few pieces and finished with BWV 566. This is Bach's E major Toccata transposed down to C major and it sounds very sweet on this organ because of Kirnberger III temperament. In this conversation James is sharing his organ playing experiences. At the end he emphasized the need for the organist to reveal the meaning of the text to the listener, among many other things. I hope you'll be inspired by James thoughts. Listen to the conversation And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. If you like it, feel free to subscribe to our channel on Musicoin. By the way, you can upload your own recordings to YOUR channel to maximize revenue. If you have some audio recordings of your organ performances, you can do the same. Feel free to use my invitation link to join Musicoin: https://musicoin.org/accept/MUSICa45e5f26ede2be5dd4411747 Thanks for caring. Relevant link: https://www.sspeterandpaul-rustington.org.uk/ You can reach James via email at jamesspanner at aol dot com Vidas: Let’s start Episode 130 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Aleksey, and he wants to know about registration: “What are some of the perfect, or worst, stop combinations?” That’s a broad question, right Ausra?
Ausra: Yes, it’s a very broad question. Vidas: Where should we start? Ausra: I think, you know, not understanding the style well can make you to put wrong stops for your pieces. Vidas: Remember sometimes we go to churches, and...especially not in Vilnius, but in other cities where people play the organ, but they completely--they don’t know what they’re using, what type of instruments, and what type of stops they should use. Sometimes they play with all the stops drawn out, and with vibrato, with tremolo. Ausra: Yes, that’s right, yes. Vidas: Have you heard that? Ausra: Yes, I have heard that actually many times. Vidas: It’s like a big Hammond organ--although it’s a pipe organ. It sounds quite funny! Ausra: I know, or when you use some undulating stop and you don’t use an 8’ stop. Vidas: True. Ausra: That’s another thing; I have heard that also many times. Vidas: Or when you use mixtures without foundations. Ausra: Yes. It’s also a horrifying sound, at least for my ears. Vidas: The reason they do that is sometimes mixtures are positioned closest to the player, in the bottom row-- Ausra: And it’s easy to pull them! Vidas: Easy to find them! And the principal is on the top, and you have to reach for it. And maybe an amateur organist just looks at the closest stop and draws it! Ausra: I know, it’s a hard thing, you know. And it takes time to develop good taste, and knowledge about different styles and different registrations; and how to adjust, for example, to a particular organ which is not built in that period, or not styled in that period, but you still have to play music from some particular period... Vidas: What organ do you know the most, Ausra? Ausra: St. Johns’, probably. Vidas: I agree. Ausra: And of course, our practice organ. I know it’s very big! It has 2 stops! Vidas: Yeah-- 8’ and 4’! Ausra: Yes! Vidas: Flutes! Ausra: And pull-down pedal. Vidas: There is so much to learn about those 2 stops. Ausra: I know. Vidas: Soft, and softer! Ausra: Yes. Vidas: Hahaha. Do you have a favorite organ stop in our church? Ausra: Well...well...my very favorite? ...Cornet. If I had to choose one, it would be the Cornet stop. Vidas: If I had to choose...I would choose two, actually: Unda Maris, and Viola Gamba. At first, Unda Maris was better for me than Gamba; but recently, I’ve been discovering such beautiful (and quite intense!) colors with the upper range of Viola Gamba on the third manual, that I kind of keep improvising on these stops all the time. Ausra: Yes. And I find that Cornet really beautiful; it’s very nice for a solo voice. Vidas: I think in every recital, we use Cornet at least once. Ausra: Yes. And there are also other nice stops. Some flutes are really nice. And I like Posaune in the pedal--Posaune 16’ in the pedals. Vidas: Especially the low E♭? Ausra: Haha yes! Vidas: Why E♭? Ausra: Because it makes such a funny sound. And it’s fun to play Bach’s Prelude in E♭ Major, where you have to...press it! Vidas: Oh, the B section? Ausra: Yes, yes. “Ba-ba-ba-bum, bum, bum, bum, bum, bum...BAHHH!” Haha! That low E♭! Ausra: Yes. It sounds funny! So, if we could tell people about things that they should probably not do while registering...I think even playing Trio Sonata by J. S. Bach... Vidas: Ok? Ausra: I would say you should always add 16’. Vidas: In the manuals or in the pedals? Ausra: In the pedals. In the pedals, because I have heard trio sonatas played so many times; and people not using 16’ in the pedal--I think that’s a principle mistake. Vidas: Remember, we recently heard even Bach cantatas--Christmas Oratorio--performed-- Ausra: Yes, yes. Vidas: And they didn’t play the continuo arias with double bass. Doubled bass was always present with choir movements, right? So always that octave-down sound was present in the loud sections; but when somebody sang an aria with 1 or 2 instruments, they didn’t use 16’. Ausra: Yes. Vidas: Which was, I think, not a good choice. Ausra: No; in general, I like a low foundation, that gravity in the pedal. And I would suggest to always play with a 16’ stop in the pedal, unless there is some indication by the composer not to do that, or if it has like a solo voice, or it should be played on some particular stop. Vidas: You sound like Mendelssohn, now. Ausra: Really? Vidas: He wrote in his Preface to his 6 Organ Sonatas that you should always include a 16’ stop unless there is indication otherwise. Ausra: Because, you know, without a 16’ stop in the pedal, organ loses half of its beauty. Vidas: But then there is the question of the historical period, right? Before the 17th century, for example, 16’ in the pedal was not very common. Ausra: Well, yes, because most of that music before that period was written only for manuals, so you don’t have that trouble. Think about, like, early Italian music, early French music--they didn’t have a developed pedal, so they did not need 16’. Vidas: What about German? Ausra: Well, I’m talking about non-German, starting from non-German. Look how the organs are developed; I mean, look at their huge pedal towers… Vidas: But before the 17th century, 16’ pedals even in Germany was not always chosen. Ausra: Well...do you mean if the performer would not choose it, or that it was absent from the organ? Vidas: Performer, of course. Because of course, those big huge pedal towers sometimes include 32’ stops. But cantus firmus in the pedals, when they used chorale notes in the long values played by feet, they did not always include 16’. Ausra: So then you have cantus firmus in the pedal. I already mentioned it’s when the pedal has a solo voice, then actually yes, you don’t include the 16’, but that’s another story. Vidas: Unless it’s the bass. Ausra: Yes. Vidas: In the bass, yes. Ausra: Yes, yes. Vidas: But if it’s in tenor, it’s 8’ level; if it’s alto, maybe 4’ level; if it’s soprano, maybe 2’ level. Right? Ausra: Yes. But for most cases, still you can find, you know...If you would compare repertoire with 16’ stop in the pedal and without it, I would say that with-16’ would win over those cases without 16’. Vidas: Especially the repertoire that we are accustomed to today. Ausra: Yes; and plus, if you are a church organist--if you are accompanying congregational singing--I just would not imagine that you would not use 16’ in the pedal. Vidas: Yes, you’re right. For congregational singing, 16’ stops are essential. Ausra: Yes. What about putting 16’ in the manuals? What would you suggest for people to do then? Vidas: There are choices when you want to have more gravity. And for example, some organs don’t have a pedalboard at all, but they have 16’ in the manual. Then you have stop combinations with 16’; and it’s a little bit muddy, but it’s a broader sound, with more gravity. It fits sometimes. And then there was a question with mixtures. Sometimes mixtures are high, sometimes low. With low mixtures, like in our St. John’s Church, the first manual mixture is based on the 4’ level; which means that you do need to have 16’ in the manual. Ausra: And I have heard many times, when organists come, and they just don’t use the 16’ in the manual but use that mixture--and it sounds, actually, not good. Vidas: Can you use mixtures with strings, for example? Is it a good idea? Ausra: Well...not so much. Vidas: You don’t...? Ausra: I don’t like that combination. Although I’ve heard some organists do that. What about you? Vidas: Yeah, sometimes. If the string is soft--and I don’t mean, here, undulating strings, like Viola Celeste, but just like Viola or-- Ausra: Gamba? Vidas: Gamba. Then sometimes it’s okay, especially when I improvise, and I build up a pleno sound, and I don’t have time to take out some of the strings--it sounds convincing, to me. Ausra: Well, if I want to strengthen my principal chorus, then I add flutes, not strings. That’s what I prefer. Vidas: Do you think flutes eat more air, or strings? Ausra: Flutes, probably. Vidas: So in our case, in our organ, there is some inconsistency with the winding system, and sometimes those “big” stops which require a lot of air don’t necessarily fit the large sounds--I mean, the large registration. I mean here, the 16’ flutes, on the third manual or on the second manual--I don’t use them. Ausra: Well, I don’t use them either; but I use 8’ flutes, and that doesn’t hurt the organ so much. Other than the wind system. So basically, registration is a tricky thing. You can know it theoretically very well; but on each instrument you need to adjust, and you need to listen. Because sometimes, you know, if you just pull out the stops that are required for that piece, and you will not listen to it, you might get a disaster, because each organ is a little bit different. But, like, we talked sometime about that organ in Nida that we have on the coast in Lithuania, that has just a ridiculous mixture. It’s so awful! I never use it! Even if I’m playing a piece by J. S. Bach that requires mixture and pleno registration--still, I don’t manage it. It’s very ugly! Vidas: It is too fierce, too...screaming. Ausra: Yes. Vidas: Too high-pitched. Ausra: Yes. Vidas: Like a cymbal, but too bright. Ausra: I know. And I’m thinking if I would use it, after my performance, probably the church would be empty--everybody would just leave! Vidas: Maybe it’s ok to use it just once in awhile, just for a special effect. And that’s it. Ausra: But, well, if you are playing, let’s say, a prelude and fugue by Bach-- Vidas: A long one…! Ausra: A long one! Then, you know, hardly anybody would survive it. And I’ve heard organists use that mixture, you know. So you always just need to listen to the organ stop, and to your registration. Vidas: And how it sounds in the church, in the sanctuary. Ausra: Yes. So it’s always a good idea, if you’re registering pieces for your recital, to have an assistant or somebody that could help you, to play a little bit of your music, so you could just go downstairs and listen to how it sounds. Vidas: If you don’t have an assistant, put a recorder or a phone down in the pews, and then record yourself for a short moment, and see if you like the combinations; and then come back, listen to it, and change something if you don’t. Ausra: Yes, that’s a good idea, too. Vidas: Thank you guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 129: There Is A Great And Profound Joy In Practicing And Performing on the Organ12/22/2017 Vidas: Let’s start Episode 129 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Helene, and she writes that her challenge is not keeping up with her daily practicing. She writes:
“I have talents in other ways in that I write fiction and non-fiction; I play other instruments, too. However, there is a great and profound joy in practicing and performing on the organ which is unparalleled.” Ausra, do you have other hobbies/interests/talents besides organ? Ausra: Yes, I do have some. Vidas: So it’s a perfectly normal thing-- Ausra: Of course it’s normal, yes. Vidas: --To have many interests instead of just one. Ausra: That’s right. Vidas: What would happen if a person would have just one passion, one single focus? Ausra: I think he would become very good in that area in which he concentrates. That’s my opinion. Vidas: Wouldn’t that be like...a limit for that person’s personality growth? Ausra: Hmm… Vidas: You know what I mean? Ausra: Yes, I know what you mean; but people are different, so you cannot judge for everybody. And you cannot measure everybody by the same scale. Vidas: For example, I also have some hobbies besides playing the organ (playing the organ is not my hobby anymore, of course); but there is a downside to it, of course: it all takes up energy and time. Ausra: Yes. And actually, I see a conflict in this question itself: because she writes that she is not practicing daily, and then she’s telling that it gives her profound joy, practicing and performing the organ. So...I sort of see a conflict in this. And she plays other instruments, as well. Vidas: Maybe she should choose what is more important to her. Ausra: Yes, because, I mean, if she really finds joy and happiness in practicing and performing organ, then that’s what she should do. And you know, you will not be a virtuoso in any instrument that you play; I think it’s impossible-- Vidas: You mean, in every instrument. Ausra: In every instrument, yes. Especially if they’re not all, like, keyboard instruments. I would say you could play excellent on harpsichord and organ, or organ and piano; it’s harder, but still possible. But...not like, probably, violin and organ. Or flute and organ. Vidas: Or flute, violin, and organ! Ausra: I know--still one of the instruments will be the leading instrument, for you. Vidas: Mhmm. It seems to me that she enjoys writing very much, right? Ausra: Yes. Vidas: She’s writing stories--made-up stories and nonfiction. So that might be another way to express her creativity. Music and writing are not in conflict, I think--they supplement each other, right? Like other instruments and organ may be in conflict, but writing and organ are not necessarily in conflict. Ausra: Yes, this is true. Vidas: How many hobbies can a person have and still manage them successfully, do you think? Ausra: I don’t know--2, 3 maybe? Vidas: 2-3? Let’s say not hobbies, but activities. It might be other things-- Ausra: Well, you know, it’s like talking about nothing--it depends on how much time you spend at work everyday, how big your family is, how many domestic responsibilities you have...All these things, you know--some people are so busy that they cannot have even one single hobby. For example, like, I’m working late at school everyday. So, it’s a different story with you--maybe you should tell about your hobbies. Vidas: I’ve heard--I’ve read, actually--a story by...Warren Buffett, I think...yeah, the famous investor. And he says that you should write down a list of 25 things you want to do in life, in order from the most important one from the least important one. But all these things are important to you: like playing, like writing, like maybe drawing for some people, like other things. And some people really have 25 things on their plate. And then, he says, circle the top 5, and cross out the rest of them--like 20 things--and never look at them again. These are still important things to you, but life is too short. For myself, I have too many interests, too, and I have to limit myself, too. And I find that 5 things in my day, I can still fit in; and practice, every day, 5 different things, perhaps. Like let’s say, of course, playing the organ--repertoire, right? Maybe like...of course, improvising; like composing, number 3; and then would be writing, of course; and I like drawing, too. So those 5 things are still manageable. But other things I have to forget about, I think. What about you, Ausra? Do you agree with this? Ausra: Well, yes. I would be very happy if I could do 5 things a day! My teaching schedule is so busy that it gives me no time for anything else. There are days when I can hardly practice, and I’m very happy if I can read for like 15 minutes before bedtime! When you teach like 7, 8, 9 hours a day, what else can you do? It’s exhausting! Vidas: Yeah. Of course, I didn’t say reading; reading, of course, is important. I didn’t count that. So yes, Helene and others who have many interests and hobbies--and love to play the organ besides that--sometimes need to figure out a way of letting things rest awhile, and see if they’re still important, right? Maybe take a break of 5 weeks or a month without doing that activity, and see if you miss it. Right? And if you do, then maybe you’ll see it’s important, and maybe it has to go up in your priorities list. What do you think about that, Ausra? Ausra: Well, definitely, yes. Vidas: Okay guys, please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. |
Photo by Edgaras Kurauskas
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Authors
Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. 
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Don't have an organ at home? Download paper manuals and pedals, print them out, cut the white spaces, tape the sheets together and you'll be ready to practice anywhere where is a desk and floor. Make sure you have a higher chair. Archives
March 2019
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