Welcome to Vilnius University Organ Studio Unda Maris Online Recital!
Unda Maris organ studio unites members of Vilnius University community who love organ music and pipe organs. For a number of years we have been practicing at Vilnius University St John's church which has the largest pipe organ in Lithuania. At the end of the academic year we usually play a joint studio recital at this church.
But last year in 2020 when COVID pandemic hit the world, we were in quarantine and the church was inaccessible so we couldn't practice and perform. Luckily this year we decided to do virtual rehearsals on the instruments that our members have at home. You might have seen these virtual rehearsals on our YouTube channel. Some play on a virtual organs such as Hauptwerk and GrandOrgue, some use electronic instruments or even a piano. The most important thing is that we can continue to practice and develop our organ playing skills.
Therefore this year we are able to present to you this recital. Your will hear four of our organists - Benas Matuzevičius, Audrė Dudėnienė, Karolina Indrulytė and Diana Danilova. In the program - works by Girolamo Frescobaldi, Johann Ludwig Krebs, Johann Sebastian Bach, Johann Pachelbel, Eric Satie, Cesar Franck and Vidas Pinkevicius.
BENAS MATUZEVIČIUS, ORGANIST:
TOCCATA AVANTI LA MESSA DELLA DOMENICA
KYRIE DELLA DOMENICA I
KYRIE DELLA DOMENICA II
TOCCATA PER L'ELEVATIONE
RECERCAR DOPO IL CREDO
CHRISTE ALIO MODO I
CHRISTE ALIO MODO II
CHRISTE ALIO MODO III
TOCCATA CHROMATICA PER L'ELEVATIONE
RECERCAR CON OBLIGO DEL BASSO COME APPARE
AUDRĖ DUDĖNIENĖ, ORGANIST:
JOHANN LUDWIG KREBS:
ALLEIN GOTT IN DER HÖH' SEI EHR (CHORAL ALIO MODO)
WER NUR DEN LIEBEN GOTT LÄSST WALTEN (CHORAL ALIO MODO)
JESU, MEINE FREUDE (CHORAL ALIO MODO)
CHRIST LAG IN TODESBANDEN (CHORAL ALIO MODO
ACH GOTT, VOM HIMMEL SIEH DAREIN (CHORAL ALIO MODO)
JOHANN SEBASTIAN BACH:
MUSETTE IN D MAJOR
FUGA in G MINOR
KAROLINA INDRULYTĖ, ORGANIST:
TWO-PART INVENTION NO. 4 IN D MINOR
TWO-PART INVENTION NO. 7 IN E MINOR
CHANT DE LA CREUSE IN D MINOR
DIANA DANILOVA, ORGANIST:
NOTEBOOK OF ANNA MAGDALENA BACH:
POLONAISE IN F MAJOR, BWV ANH. 117
FUGUETTE HERR GOTT, DICH LOBEN ALLE WIR
CHORAL HERR GOTT, DICH LOBEN ALLE WIR
OFFERTORY ON SUPER FLUMINA BABYLONI
SUITE IN G MAJOR AND G MINOR FROM L'ORGANISTE:
K. INDRULYTE, ORGANIST:
POCO ALLEGRETTO IN G MAJOR
B. MATUZEVIČIUS, ORGANIST:
VIEUX NOEL IN G MINOR
K. INDRULYTĖ, ORGANIST:
NOEL ANGEVIN IN G MAJOR
B. MATUZEVIČIUS, ORGANIST:
QUASI LENTO IN G MAJOR
AMEN IN G MAJOR
NOEL ANGEVIN IN G MINOR
ALLEGRETTO VIVO IN G MINOR
SORTIE IN G MAJOR
Subscribe to Benas' channel:
Subscribe to Audrė's channel:
Subscribe to Karolina's channel:
Subscribe to Diana's channel:
Thank you for your support! You get early access and we get to keep going:
Today we had a rather productive Unda Maris organ studio rehearsal. Karolina played Daquin's Noel and Diana - Polonaise in F Major from the Notebook of Anna Magdalena Bach. I showed Karolina how to practice the fastest variation so that she could reach the skill of playing 32nd note runs in the left hand. We also discussed the repertoire for our upcoming joint virtual studio recital which will be premiered on Secrets of Organ Playing YouTube channel some time next month.
Thank you for your support! You get early access and I get to keep going.
Podcasts and Unda Maris
Yesterday Ausra and I recorded 3 podcast episodes in the morning. The first was No. 559 which was about the question asked by Arthur. He wanted to know if my organ compositions are available for downloading to Total Organist members without paying for them extra. In particular he was interested in my Meditation in D, Op. 35. Ausra thought it's a good idea to let more people play my music and I think so too. But before I make a decision, I also want to ask the community if this feature would be useful to have in the program.
Another question for podcast No. 560 was sent by Maureen who wanted to know how to play confidently and with the feeling for the music. She has dreamed of playing the Widor Toccata. The last question which we answered today for Podcast No. 561 was sent by Andrei. He was grateful that his organ playing is improving drastically. The reason for this might be that he is studying from my Organ Sight-Reading Master Course. In this conversation Ausra and I argued about what's more important for an organist to develop - strong sight-reading or strong improvisation skills? Why not try both?
In the afternoon I went to our Unda Maris organ studio rehearsal. 8 people were playing today. The first that started was Justas with his rendition of the C Major Little Prelude and Fugue. He played it last year but hasn't finished it. Maybe this May will be his time...
Then Rokas played G minor Prelude and Fugue from the same collection. I advised him not to look at the fingers while playing. Totile was next. She played Praeludium in D major by Buxtehude. I think she will soon be able to play it faster. She also played through my Meditation in D, Op. 35 for the first time. She hasn't played many legato style pieces so articulation will require extra focus.
Vytautas played a Trio in Eb minor by Bach. He loves pieces with lots of accidentals. Next step will be with 7 sharps or flats for him. Diana played "Bellows" from my cycle "Organ ABC" which I'm currently composing. It's coming along well but for this week's contest it may not be ready yet.
Our new student Lukas played the first short trio by Lemmens. I instructed him to practice in 7 different combinations. Audre played a Lithuanian church hymn - this time for two parts. Up until now she has been playing in parallel octaves but I think she is ready to add one independent voice as well. Also with pedals. The last was Marek who improvised for a while on soft stops. He needs to start learning to read musical notation.
Creative connections and Unda Maris
Today like yesterday I went to the cultural connection training session at the university. The warm up included each of us leading exercises from the most significant physical actions that we did in the summer. I chose pull-ups and dips.
Then from last week survey we identified many reasons why people are feeling part of the university community and many reasons - why they are not. One of the main positives was the sense of common purpose and the negative - strong hierarchy. Then we categorized all of them into broader areas and next week we will start to devise an action plan about creating an activity that fosters our strengths and diminishes the weaknesses. I actually think this list we made today is a perfect sample of statistical data that the university could look into more seriously about what matters to the people from their community and how to go forward.
I also submitted a letter of intent for participating at the organ festival in Rokiskis next year. The plan is to play our organ duet.
After lunch @laputis and I went to the cafe near our church and had some coffee and desert after which we had our Unda Maris organ studio rehearsal. 10 or even more people where present. Not all of them had time to play but @laputis asked each of them a question if they consider themselves a part of the university community and to explain the reasoning behind yes or no. This survey was supposed to be my homework from last week but I forgot about it.
Then @laputis and I went to the cinema to see the French comedy "French Wedding 2". It was hillarious and displayed many cultural stereotipes the French have about immigrants and vice versa. Finished the day by watching "Bones" on TV about an investigation of the death of an astronaut who got minced by an airplane propeller. Oh, and I read a bit of David Sedaris' diary before sleep. It makes me wonder how he notices such remarkable things in his day...
Composing, Unda Maris and harmony
I'm in my car right now, parked just outside the cultural center of the university and waiting for our secret training session to begin. They said, "Don't wear high heels..." Not sure why. I guess we'll find out soon enough.
This week my main focus will be on composing "Puer natus est nobis" for organ duet, sight-reading new music, playing organ duets with Ausra, starting to practice Toccata by Paul Ayres, going to a couple long training sessions at the cultural center today and tomorrow, having Unda Maris organ studio rehearsal, interviewing my former organ professor Pamela Ruiter-Feenstra for the podcast, recording another organ demonstration for art students with sound experiments, preparing for Saturday's Harmony class and recital of my colleague at the church. This recital will be dedicated to the 150 anniversary of Lithuanian composer, organist and choir conductor Juozas Naujalis. I need to check if the posters are all printed out and prepare program notes.
And of course I will be writing blog posts, creating podcasts and drawing Pinky and Spiky comics.
Now I have to run to this secret training session because it will be starting in a few moments. I'm glad I'm not wearing my high heels today, haha!
On Wednesday @laputis and I went to our first Unda Maris organ studio rehearsal this year. I was surprised to find 15 people on the organ balcony. Half of them were new. It will be a very difficult year if they all continue to attend because there were a few who might come only next week. I have a hope that only the most motivated will stay.
After I asked them to introduce themselves, I played for them a short introduction to the organ:
Then some of them played on the organ too. A few people knew some music while some tried to play some chords or improvise. A couple of old members played as well. There was a couple of exchange students from China and Germany as well.
Next week I asked all of them to bring their favorite music. Some might work on the organ too.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra.
V: Let’s start Episode 229 of #AskVidasAndAusra Podcast. We’re continuing our discussion from the previous podcast conversation about our recent concert of Vilnius University Unda Maris studio. You can check it out in podcast Episode 228. So the next piece that was performed in the program was by Mikalojus Konstantinas Ciurlionis. This was prelude in F Major, A lovely piece for manuals only and it was played by Ruta, our allergology professor.
A: Yes, and she’s also a member of our studio. I believe this is her sixth season as a member of our studio.
V: It’s always lovely to see her in the studio.
A: I know because she shows up so rarely. But she always amazes me because she appears before recital sometimes quite a short time before recital and she always will be quite well so she’s very talented woman.
V: I sometimes I forget how she looks and I always tend to take her photo at the organ so that she will also appreciate how she plays and how she looks on the organ bench. And last rehearsal I took the photo and after the concert sent this photo to her and she was very smiling at that photo and she wrote me back that she looks quite old you know and I said as long as you’re smiling you’ll never get old. And she wrote back that I’m probably right.
V: Prelude in F Major by Ciurlionis is a lovely piece. She played it with the Principal stop, maybe together with the Flute and Salicional on the first manual and it went much smoother than any other concerts that she performed I think.
V: Even though she comes to the studio very rarely she does seem to progress.
A: That’s right.
V: Maybe Ausra she practices on the piano at home.
A: Could be and I think she has a great potential if you know she would practice regularly.
V: Exactly because if she does that without any hard work imagine what she could do with hard work and practice.
A: I know because she has that rare quality you know no so often happen with Lithuanian folks that she has self confidence in her.
V: Right, she’s not embarrassed.
A: I know and Vidas asks her “Are you sure you can do it?” Oh yes, yes, I will do it. Sure. And it amazes me every time.
V: Yeah. We can learn this quality from her. Excellent. So then Mindaugas who is our actually graduating member from the studio from Chemistry Department he will be leaving us next year.
A: That’s very sad because we are so well connected with him and he is so dear to us.
V: Mindaugas performed March Gavotte in F Major by George Frideric Handel which was transcribed for the organ by Dubois. The registration was like a French Grand Choeur style.
A: Yes, that dialog of reeds between different manuals.
V: Nineteenth century registration style which suited the texture well although the harmony is eighteenth century. That’s how maybe Dubois would have performed it in Paris of nineteenth century.
A: I think so, yes.
V: And so Mindaugas will be leaving us to start his fourth position in another town in Klaipeda probably. It’s quite sad.
A: Yes, it is.
V: We got used to him being with us every week, he participated in our Secrets of Organ Playing Improvisation Contents and also he gave an interview for the Secrets of Organ Playing podcast earlier. It was really nice.
A: He was a great help you know with tuning the organ when I for example couldn’t go to church he helped us tune the organ and he would help us during recitals and with page turning and was real kind to us so we will miss him greatly.
V: March Gavotte in F Major by Handel was probably the most advanced piece that he ever played.
A: Yes, he progressed with each year. He did better and better in each recital.
V: So just like John from Australia who came to play at our church in April, Mindaugas also has potential to play full hour recital because we told him that he can recycle his old pieces and put together a nice maybe 30 minute recital first, and then later 60 minute recital.
V: Excellent. We’ll try to arrange for him the possibility to practice in one of the local churches in Kaunas the next year.
V: Excellent. Then it was a nice surprise in our program because guitar music sounded on the organ.
A: Not on the organ but together with the organ.
V: Exactly. I played the organ and Andrius played the guitar part. Andrius is quite a colorful personality, right?
A: He is.
V: He started playing with us as a Mathematics student. He wanted to play the organ, especially improvisations.
A: Because he didn’t want to play from a musical score.
V: Yeah. And we thought that he cannot read music, but he now is going to transfer to Lithuanian Music Academy and he will study professionally guitar. And it appears that he reads music quite well. He participates in guitar festivals and competitions. So this time he played a piece by Bach, Prelude in D Major, BWV 998, originally composed for Lute and I supplied the organ accompaniment on the spot like improvised organ part.
A: Sounded lovely.
V: We had a problem because guitar sound is quite soft and we thought if we needed to amplify it with a microphone.
A: So that’s what we did.
V: And I used only one flute sound on the organ to accompany it. Excellent. So you see guys we have pretty interesting colorful program so far. And the next piece was quite dramatic taken from the first half of the nineteenth century by the second generation student of Bach, Johann Christian Heinrich Rinck, the famous Postlude in D Minor which was performed by Giedre. Giedre also studies at the Mathematics department and is together with us for how much?
A: Second year.
V: Second year and she has a well advanced piano technique.
A: And as you know she is nice plays for Lithuanian musical schools like other schools that are located in Vilnius because she comes from not a large town in southern part of Lithuania and she just attended regular musical school. And, oh my, her technique is so advanced. She is extremely well. That’s what I think about her.
V: And she’s an example of what people can accomplish after graduating those music schools for kids. Seven year long studies.
A: Yes, and because you know she studies Math and it’s probably not as fun as music. I think it’s nice way for her to relax and to spent some time with an art coming to the studio to perform.
V: So this Postlude in D Minor by Rinck sounded quite dramatic.
A: Yes, and it sounds actually like played by a professional.
V: She could be one of the candidates to perform at a competition for young organists I would think.
A: Yes, if she would wish.
V: And then we finished our program with interesting organ transcription by Beethoven. First part Allegro con brio from Symphony No. 5 which needs no introduction of course.
A: Sure. It was an organ transcription for organ duet. It was played by Giedre and Arnoldas. And Giedre the same girl who played before and Arnoldas played the second part.
V: And Arnoldas is now a medical student but in another university.
A: Yes, actually he started as a Chemistry Major at Vilnius University but when he realized that his passion was actually medical studies and he wanted to become a medical doctor so he actually had to take some additional exams and he transferred to another university. But he came back to play with Giedre to do the duet. Because last year actually we played that wonderful Sonata in D Major by Wolfgang Amadeus Mozart.
V: Which Ausra and I also have been playing as an organ duet.
A: Yes, because we liked it so much now we played it and we wanted to do it ourselves. And actually we even taking this piece to London, yes?
V: That’s right.
A: If I remember correctly.
V: To Saint Paul's Cathedral.
A: Would you like to play Beethoven as well?
V: Well, it’s possible though. I had this idea to play either Beethoven’s symphony or Mozart’s Symphony No. 40 in G Minor.
A: I like Mozart better. I think it’s more suited to the organ. Because this motif of repeated three notes. It’s hard to perform well especially when you are playing with four hands. It’s very hard to play together.
A: And we did a great job knowing that you know how little we practiced together.
V: Because Arnoldas lives now in Kaunas and they only practiced here in Vilnius.
A: For a couple times I think before recital.
V: So it went quite well considering the circumstances and I wish next year they could also perform something in duet and/or solo too. I hope Arnoldas will find a church in Kaunas to practice in.
A: Because you know Giedre, Arnoldas is you know equally capable to play well because he comes from another part of Lithuania but he also graduated from musical school and he has also very advanced piano technique.
V: Before leaving Vilnius University he also took part in Vilnius University Chamber Orchestra where he played harpsichord, continuo part.
A: Sure, also quite advanced pieces. He did very well.
V: So this was our recital on May 26, performed at Vilnius University at St. John’s Church by the members of Vilnius University Organ Studio Unda Maris. The end of the seventh season. It was very nice and after the recital we told everyone to think about what they would like to play next. So hopefully they will come up with nice pieces to perform.
A: Yes, I’m sure they will. Especially some of them I’m sure.
V: Wonderful. And they have been progressing and it’s nice to see them grow and to be able to help them grow, right Ausra? We hope also that your schedule next year permits and you can join me in leading the studio as you did last year.
A: But I think you did quite a good job on your own this year.
V: As well as could be expected right?
V: Because when you showed up it’s very well organized and less talking you know.
A: Yes because I just wanted them to have the possibility to play. I think this is the most important and you can talk later on.
V: But actually this year I talked much less. I let them practice.
A: Well I could hear it from being we did quite well.
V: I’m learning.
V: Thank you guys for listening, for sticking with us with the last two podcasts and please send us more of your questions. We love helping you grow and it’s really fun to answer your questions about the challenges you are facing, or problems that you are having, or dreams that you are dreaming about the organ playing. So looking forward to that. This was Vidas.
A: And Ausra.
V: And remember when you practice…
A: Miracles happen.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra.
V: Let’s start Episode 228 of #AskVidasAndAusra podcast. Today we’d like to discuss the concert of Vilnius University’s Unda Maris studio that was held at St. John’s Church on May 26. It was the culmination of our year-long season, right Ausra?
V: It’s hard to believe, but it was the ending of the seventh season already.
A: Already, yes. Time flies.
V: Remember the day when we decided to create this studio?
A: Yes, I remember it.
V: We were in our summer cottage that day; and after communication with our boss at the Cultural Center at Vilnius University, we decided to create this studio, and even gave it a name: Unda Maris.
A: Yes. And I was the godmother, actually.
V: You came up with this name?
V: It’s a nice name.
A: Yes, and especially because the organ at St. John’s Church has this beautiful Unda Maris stop.
V: Right. So, the studio is open to all members of the Vilnius University community. Students…
V: ...Faculty, alumni…
A: That’s right.
V: ...Who love organ music.
V: Ausra, do they have to be able to play piano, or not?
A: Well, it’s not necessary, because some just started from scratch; but some are actually quite advanced keyboardists.
V: Mhm. And in this concert, we also saw some quite advanced players, even though they were performing for the first time with our studio. For example, what did you think about the opening piece, Prelude and Fugue in C Major, BWV 553, which was performed by Totile.
A: Well, I thought she did quite well, knowing that it’s her first recital at all with the organ, and that she’s just a freshman in organ.
V: Exactly. And during the concert, I introduced the performers and pieces, and during those intermissions, Ausra helped them to change the stops.
V: And that saved a lot of time, and made it smoother.
A: I know. It was sort of fun for me to watch them, how each of them behaved; because, I mean, you could not see such things in a professional concert!
V: Mhm. People who had more experience playing in public acted more or less naturally, right?
A: I know. It was great fun.
V: But others, who were doing this for the first time, or after some decades of not being on the…
V: Stage--they were very scared!
V: Okay. So, then, the next piece was Léon Böellmann--Prière à Notre-Dame, from the Suite Gothique, which was also played by Totile. It’s a lovely piece, right Ausra?
A: Yes, very nice.
V: But if you don’t have a good grasp of piano technique, it’s too hard to start with Romantic music.
A: Yes, that’s right, that’s true; but it seems that she had quite good piano technique, so it wasn’t a problem for her.
V: Mhm. Before the concert, I told her to imagine that either she prays, herself, or she dreams. It’s sort of like Romantic meditation--in both states, prayer and dreaming are similar, in a way. So while playing, she had to transfer this mood to the listeners, too.
V: I also thought that her articulation with Bach’s Prelude and Fugue in C Major was quite well-performed.
A: Well, I thought that, you know, the…
V: Too much…
A: Subject, yes, of the Fugue sounded almost staccato--it was played almost staccato. And I noticed that before the recital, you told her to do the longer notes, instead of shortening them so much; but she did not do that during the recital!
A: I guess it was too much to expect from a beginner.
V: Yeah. Maybe she can do this with her next piece, to adjust articulation a little bit. And Totile is an alumna of Vilnius University, and she is a translator, I believe, from English.
V: Okay. The next performer was Vytautas, our faculty member in the physics department. And he played 2 pieces: one by Simon Mayr Prelude in d minor. This is an 18th century Austrian composer, I believe.
V: Have you heard him before?
A: Actually, no. This was my first time hearing him.
V: Vytautas brought the music for me himself, and chose this piece--the entire collection. And the next piece, also, was unknown to me. So I felt quite pleased that he has some curiosity to dig up some unfamiliar and rarely-performed organ music.
A: True, and actually, I think from all who performed in this recital, Vytautas is the oldest member of our studio. And so this was his 7th recital already, as an Unda Maris studio member.
A: And he always amazes me, how he’s interested in things; and even after this recital, he told me that next year he would like to learn more about the organ, and how all the things function. So basically, he’s a real physics major!
V: And also he wants to learn music theory.
V: To decipher musical compositions--to understand how they are put together. So, hopefully we can help him next year. Okay. And also, a few years ago, Vytautas brought with him his student--who is now also an alumnus of Vilnius University, graduated from the physics department of engineering: Vadim.
A: And he actually came to the recital, and he told us that he might be joining the studio again next year.
V: Yes. As his graduation work, for a diploma, he constructed a robotic hand, which can grab things, you know.
V: Excellent. So, the next piece or set of pieces was performed by Justas, who is a faculty member at the biochemistry lab. He deals with various...protons, I believe...and investigates them...I don’t even understand what he does.
V: I think he does computer modeling of how they behave, you know.
A: But you understand what he plays!
V: Yeah. The first piece that he played was actually written by me: Offertorium from the Mass for the Fourth Sunday in Lent. This was the piece performed on the string stops on 2 manuals. And actually, I was surprised that he dealt with the texture where there are no barlines very well. And actually, I told him before the recital that he plays this piece better than me!
A: Wow. Well, but you know, I had a problem with him; because since I had to change stops for him, for 2 pieces for your Offertorium and then for Prelude and Fugue in a minor, BWV 559...
A: He was always checking if I did everything right! And it just made me laugh!
V: Well, maybe because he is not used to playing in public. It’s his first year.
A: But he argues with me--he wanted to do pedal with 32’ stop...
A: And you know, I had many doubts about it; and finally, no--he agreed not to use it. But we had quite a fight before the recital!
V: In order to use a 32’ stop in the pedals in a Baroque piece, the pedals should move quite slowly, right?
A: I know, and I just didn’t think it suitable for this kind of prelude and fugue!
V: Like, imagine maybe Chorale Fantasia by Bach--“Komm, heiliger Geist” from the Great 18 Chorales from the Leipzig collection, right? That would be...
A: And my final argument was, “Are you so good at articulating the pedals? Because if not, your pedal will be behind all the time.”
A: The sound will be behind all the time, if you add 32’ stop.
V: Or 32’ stop would work well for Pièce d’Orgue, middle movement.
V: Because of the long note values. But you know, since Justas is just a beginner, he probably likes the 32’ stuff, and its gravity.
A: Haha! Sure.
V: But he doesn’t know what the effect is downstairs.
V: He’ll learn, probably. Excellent. So, let’s continue our discussion in the next conversation. But you see, it’s so much to talk about, right Ausra?
V: And it was a fun concert to observe.
A: Yeah, it was.
V: Thank you guys. Look forward to our next discussion in the next podcast. And remember, when you practice…
A: Miracles happen.
By Vidas Pinkevicius (get free updates of new posts here)
Do you plan your daily activities around your organ practice? Even though you might have a different profession, does playing this instrument is high on your priority list, maybe high enough to influence some of your choices?
It seems like this is the case with Arnoldas Leleika, the member of our Unda Maris studio who studies chemistry at Vilnius University. Here's what he wrote:
"This year was very special to me because I entered the university, met a lot of new people and expanded my cultural and artistic horizons. It's a little secret but before choosing Vilnius University, I went to Cultural Center's website and saw that they have an organ studio. Because I'm an amateur organist who used to play in his little town during church services, I thought that this studio would give me a lot and my choice to study at Vilnius University was in part based on my wish to participate in the Unda Maris organ studio. My dream has paid off. When I played during the graduation ceremony, it was like my recognition that I really can play the organ. This inspired me to play even better. And our final concert on Saturday showed that the people at the university are not only smart but also very talented. I want to thank Vidas and Ausra for leading us on this musical discovery path and giving a special chance to get better. I want to also thank Giedre. One day I was thinking that alone we can play quite well but when we join the forces together it seems like everything doubles and music starts to sound differently. I hope in the next year we can keep the level quite high and even more strive for perfection because only the sky is the limit. :)"
I hope you will enjoy this video how Arnoldas is playing Gordon Young Prelude in the Classical Style.
His dedication to the organ is amazing, even though his profession is entirely different.
To Arnoldas and Giedre's credit I have to say they both will represent Unda Maris next September in the Freshmen Integration Week at the university where they will share their experiences of being a part of our community to the young people of various majors who are just beginning their studies there. Hopefully this will inspire a few more students to start playing the organ.
What art does
By Ausra Motuzaite-Pinkeviciene (get free updates of new posts here)
Have you been in a situation when you've been swept away from music, from any artistic activity for a while and all around you were your colleagues from completely different field, your co-workers who couldn't fully understand you?
Well, Giedre Juodzeviciute who studies math at Vilnius University found herself in this situation.
Here's what she wrote after our Unda Maris concert last Saturday:
"I'm very happy about this concert. For a few more days I could hear the sounds from the pieces that Mindaugas, Arnoldas and myself played. My family liked the concert very much, when they climbed to the organ balcony they were surprised by the size of the instrument. I can't believe how fast this year went by. How the organ changed my life? When I came to Vilnius, I lost all the chances to have a piano and to practice regularly. Little by little I started missing art so much because all around me was just math... But when I would to come to church to play, I could escape this, meet people who shared my interests and I also missed them. To not forget piano skills, finger technique, to feel a little anxiety when the tourists would be striding constantly, even to remember what does it mean to play a duet. All of this was an opportunity for me to grow further. I'm very grateful to Vidas and Ausra for their support, care and advice! Looking forward to the new season and I'm going to start searching for new music to play over the summer. :)"
I hope you'll enjoy Giedre's performance of Hans Zimmer's Inception which incidentally she arranged for the organ herself directly from listening a video on YouTube. It was like a gigantic melodic dictation for her. If you're curious about the original, here it is too.
So anyway, I thought of sharing this with you today because I feel that art does something to our souls and even to our bodies which nothing else can replace.
What is it?
I can't really put it into words but it seems like we can only fully appreciate it's power over our lives when we've for some reason lost contact with it for a while.
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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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