When we practice organ playing, this is what we do - we continue centuries-long tradition of excellence so that future generations can also have a part in this.
If we think about it deeply, almost all of us are students of Bach, Sweelinck, Frescobaldi and many other masters of the past in some way or another. We can trace this geneology of teachers back 300 or more years ago.
Every single one of the masters did their best to create unique and remarkable art, to pursue perfection even though they knew it can never be attained.
So when we sit down on the organ bench we do the same - we try to push ourselves, be honest with ourselves, and constantly ask ourselves how can this piece be even more improved today.
If this means that in order to fully appreciate the piece and transfer this feeling to our listeners we need to be aware of how the piece is put together, then we analyze the piece.
If this means that in order for the composition to sound as authentic as possible (there are certain limitations, of course) we need to re-create the ideal articulation, fingering, pedaling, ornaments, and registration then we do that, too.
It really doesn't matter if the majority of our listeners don't know the difference about early and modern organ technique.
As long as we stay honest with ourselves and give our best in our organ practice, then we are continuing this long tradition of excellence, we are staying on the same path that Bach went when he wrote "the goal of figured bass (like all music) is the glory of God and re-creation of the soul".
By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide.
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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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