These 4 delightful variations of More Palatino originally were attributed to Jan Pieterszoon Sweelinck.
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 Jeremy Owens for his meticulous transcription of fingering from the slow motion videos.
If you liked Baletto del Granduca, I'm sure you'll love More Palatino too.
Check it out here
Intermediate level. Manuals only. PDF score. 3 pages. 50% discount is valid until March 16.
This score is free for Total Organist students.
Would you like to learn Da Pacem, Domine, in diebus nostris by the great Jan Pieterszoon Sweelinck (1562-1621)?
If so, this score is for you because it will save you many hours of frustration. I have created early fingering for every single note which will allow you to achieve articulate legato automatically, almost without thinking.
This set consists of 4 variations (manualiter only, no pedals):
Variation 1: Bicinium with the chorale melody (cantus firmus) in the soprano
Variation 2: Trio with the chorale melody in the tenor
Variation 3: Quartet with the chorale melody in the alto
Variation 4: Quartet with the chorale melody in the bass
Note that these four settings are perfect example for anybody wants to creatively play hymn accompaniments. You too, can create duets, trios, and quartets from any hymn tune and place the melody in ANY voice.
Thanks to Alan who meticulously transcribed the fingering from my videos.
50% discount is valid until February 5.
Check out this score here
Intermediate level. PDF score (4 pages). This score is free for Total Organist students.
Ausra and I are preparing for a recital together which will be in 10 days were we will be performing solo and duet works by Sweelinck, Bach, Mozart and Mendelssohn.
Ausra is playing the famous Fantasia Chromatica by Jan Pieterszoon Sweelinck (1562-1621), "Orpheus of Amsterdam" and "the Maker of German Organists" as he was called back in the day to point out his artistic and pedagogical significance.
The piece is called "Chromatic" because of the theme which is presented in the beginning. It is formed of descending chromatic tetrachord and later developed in all kinds of ways - canons, augmentation, diminution, double augmentation and double diminution.
Interestingly, Sweelinck worked out not only the main subject but also the counter-subject so this piece is a pinnacle of polyphonic mastery before Bach. Of course it's so difficult to pick one Sweelinck's piece over the others because most of them are masterpieces.
Fantasia Chromatica is so fantastic that I thought our students who love early music would want to play it too. Therefore I've prepared a PDF score with complete early fingering (5 pages) for efficient practice and instant articulated legato touch. It will save you many hours and give you the tools for historically informed performance practice.
50 % discount is valid until November 15.
Enjoy and let us know how your practice of this piece goes.
This score is free for Total Organist students.
By Ausra Motuzaite-Pinkeviciene (get free updates of new posts here)
Today I'd like to share with you the video of Sweelinck's Echo Fantasia in a (Aeolian).
I played it as part of our "Laudate Dominum" recital (18th part of the cycle "7 Centuries of Organ Music").
Although the echo's were tricky to manage between the 1st manual and the 2nd manual, I felt much more secure than many years ago on Van Covellens 1511 organ at Sint Laurenskerk in Alkmaar, the Netherlands (I was given only 5 minutes to rehearse there).
In Vilnius, at least all the keys are here (short octave in the bass and missing accidentals in the top octave in Alkmaar organ make it a bizarre yet totally enchanting experience to play it for the first time).
While we're at it, listen to an amazing conversation Vidas had with Pieter van Dijk on the SOP Podcast about the organs in this church.
Do you find hard to jump from manual to manual in fast passages to create an echo effect?
Welcome to Secrets of Organ Playing Podcast #45!
What does it take to play the organ from the 17th century?
Listen to the fascinating conversation with Dr. Michael Dierks, a Swedish organist from the German church in Stockholm which houses an organ from the time when there worked one of the most significant student of Jan Pieterszoon Sweelinck, Andreas Düben. Michael has the privilege to play an organ which Düben himself also played.
Listen to the conversation
What's the organ music of Sweelinck and Scheidemann are like? How Scheidt and Reincken are different? What was the organ situation in the 17th century North Germany? Listen to the conversation with Pieter Dirksen from the Netherlands who is one of the greatest experts alive on this topic.
Ausra's Harmony Exercise:
Do you have a question about harmony for Ausra? You can reach her by email.
Practice the above Variation 2 from "Ach Gott vom Himmel sieh darein" by J. P. Sweelinck this way:
1. Voice 1
2. Voice 2
3. Voice 3
4. Voices 1 and 2
5. Voices 1 and 3
6. Voices 2 and 3
7. Voices 1, 2, and 3
Take a slow tempo, aim for detached articulate legato touch and 3 correct repetitions in a row in each step.
Post time and the number of repetitions to comments.
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene
Organists of Vilnius University , creators of Secrets of Organ Playing.
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