Ausra: And Ausra.
V: Let’s start episode 305 of Secrets of Organ Playing Podcast. This question was sent by Alan, and he writes:
Vidas, we are back from our travels. I enjoyed the Bach organ tour but the big surprise was how sharp most of the organs were. It wreaked havoc with my absolute pitch and made it very difficult to play.
It didn't get easier, but I didn't push it too much as there were others waiting for a chance to play the organs. For something else to do I took measurements of the temperament octaves of many of the organs in order to make some comparisons. A podcast on coping with different pitches would be good.
V: So, Alan is already introduced to historical temperaments, right?
V: This is nice.
V: Was it difficult for you to adjust, Ausra, when you first encountered different pitch levels in the tuning of different organs?
A: Well, a little bit, yes, but I wouldn’t complain about it, actually, I liked it so much.
V: What was the first organ that was different from A440 that you played or heard?
A: Actually it was a small organ built by John Brombaugh in Gothenburg, Sweden, in Haga Church. That was my first organ.
V: So, probably the same for me.
A: That’s right, and because it has split keys, I remember that you could not figure out which are flats and which are sharps, and I had to do it. And somehow, I did it fine. You just need to listen, really.
V: On that organ, I chose E major Preludium by Buxtehude with four sharps—very stupid idea.
A: Well, at that time, we simply didn’t have any idea what the historical temperaments are.
V: And what did you play there?
A: Well, I played, I think, Preludium in G minor.
V: Much better choice!
A: Yes. It was better.
V: With two flats. Anyway, so the tuning was quarter-comma meantone, and the pitch level was A=465, I think.
V: Half step higher.
A: Yes. And, you know, a couple remarks about “absolute pitch,” as Alan called it, or I would call it, “perfect pitch.” It’s usually not a pitch that is related to this, it’s usually your memory. Your musical memory. You simply memorize everything at A440.
V: And the reason I asked him if it got easier when he touched the keyboard and started to play is because for me, somehow, it became easier. I forgot somehow, but maybe I spent more time than Alan on the organ.
A: Well, let’s say, I used to have to play sometimes, even during the same recital, on three different instruments. I remember accompanying at Eastern Michigan University, for example, and I had to play on the organ, on the harpsichord, and on the piano. That was hard work. And I remember in one recital, I had to do Sweelinck’s Fantasia Chromatica on the harpsichord, which was tuned quarter-comma meantone, and then I played on the organ Bach/Vivaldi Concertos, which was tuned in A440. And for me, it was really difficult to go through the first page, and after that it was ok.
V: You mean of Bach?
V: Because you played Sweelinck first, and adjusted, got used to it, and then suddenly had to switch to Bach—to the modern organ.
A: Yes. But you know, after working for a while with historical tuning, when you go back to 440, you see that it’s really harsh sounding. That there are no pure intervals, and everything is so, so out of tune, actually!
V: Did you notice that piano sounds milder with equal temperament than the organ, actually?
A: True, because I think the pipe sound is so much more prominent than the piano.
V: And the sound doesn’t fade.
V: So, yes, it needs some adjustments and some experience with different instruments, but each new instrument gives you new perspective—new experience, right?
A: True, and I think if you are getting in trouble adjusting to a historical tuning, I think working on the 440 instrument, you need to transpose more often, to play the same pieces in different keys.
V: Mhm, why?
A: Then it will be easier for you to adjust.
V: Oh, transpose… we need to ask Alan if he practices transposition then!
V: At some point, I remember making a few videos of the same piece in different keys—a Two Part Invention by Bach in C major. I played it in C major, in F major, and in G major, recorded on YouTube, and I transposed it into all the other major keys when I practiced, but didn't record it yet. So, it really helps to do this regularly.
A: Well, and another thing, if you want to adjust to historical tunings, if you have access to a harpsichord, then it’s easier to do, because harpsichord is an instrument which you can tune in different tuning systems very easily, so you could practice.
V: Or a clavichord.
A: Or a clavichord. I think it’s easier to access a harpsichord, probably, than a clavichord.
A: But I think it’s all a mental thing.
V: But I think Alan seems to have enjoyed this experience, right? But when he started to play that it was difficult, right? Or when other people played, he couldn’t listen to the original keys. I myself remember in Sweden, back in 2000, in Gothenburg, so other people played C major. I remember Bill Porter played 545 Preludium and Fugue in C major by Bach. This was one of…
A: In Örgryte
V: ...In Örgryte New Church one the first times I heard this piece, actually. And he announced that this piece will be in C major. And I prepared myself in C major, you know, my “perfect pitch system” based on 440, and he started to play, and it sounded D flat major, and the whole time, while being downstairs, I was mentally really struggling to think, “What is happening, and what is he actually playing?” Not, “What I’m hearing,” but, “What is he playing?” But again, when I started to play this on organ on another occasion, not right away, but after a few minutes, I think, it became easier.
A: Yes, for me, it takes about one page to adjust.
V: Right. So, Ausra, do you recommend people trying out different historical instruments and going on tours, like Alan did?
A: Yes, I think it broadens your perspectives in general. I think it’s a wonderful experience.
V: Tuning and pitches is just one side of the story. Another could be adjusting to the touch, adjusting to the bench height, or to the distance of the manuals when you have to reach the top manual and it’s very far from you…
A: But if we are talking about tunings and you see how different each key sounds, actually, then you understand what all those treatises about the meaning of the keys is.
V: And also in many historical instruments, the layout of the stops is not vertical from top to bottom, but from right to left, or from left to right horizontally! And you have to reach very, very far from the distant stop handles, and that makes it very difficult sometimes, and you might wonder if they really played with assistants or made less stop changes or what!
A: That’s true! And it also teaches us that when going somewhere, abroad especially, on an unfamiliar organ, you need to find out about them in advance as much as possible, so that you will be mentally prepared for it. That it wouldn’t catch you by surprise.
V: Like a short octave, right?
V: In short octave, some of the lowest semitones are missing… sharp keys are missing… no C sharp, no D sharp, and sometimes even no F sharp and G sharp. So, if you don’t know this, and you are scheduled to play a recital on some historical organ with short octave, and you are used to playing a modern organ, then you don’t know what to play in that left hand section. Therefore, if you find out in advance, you can actually practice on your own keyboard at home or in a church with approximations of the target organ.
A: Usually next to the stop list of the organ, you get a compass of keys, so you could find out about it from it.
V: Thank you guys, we hope this was useful to you. Enjoy your travels, and enjoy experiences on other instruments—as many as possible, because each new organ gives you a new perspective. It’s like driving a car, right Ausra?
V: The more you drive, the better you become at adjusting to each new vehicle. Please send us more of your questions; we love helping you grow. And remember, when you practice,
A: Miracles happen.