By Ausra Motuzaite-Pinkeviciene (get free updates of new posts here)
Yesterday I went to practice to the church Bach's Eb major Prelude and Fugue, BWV 552.
The biggest challenge for me was to adapt to the huge acoustics.
It was the first time I played it in a space with such a long reverberation.
In the past, I performed BWV 552 only in dry and relatively dry buildings: the Cornerstone chapel and Grace Lutheran church in Lincoln, Nebraska.
Playing it for the first time at St. John's church in Vilnius for me was a surprise because I had to adapt my articulation and tempo.
It seems everything must be played slower and more detached in such a space.
Despite all these challenges, though, this piece is one of the biggest dreams for any organist.
Yesterday I went to practice to the church Bach's Eb major Prelude and Fugue, BWV 552.
The biggest challenge for me was to adapt to the huge acoustics.
It was the first time I played it in a space with such a long reverberation.
In the past, I performed BWV 552 only in dry and relatively dry buildings: the Cornerstone chapel and Grace Lutheran church in Lincoln, Nebraska.
Playing it for the first time at St. John's church in Vilnius for me was a surprise because I had to adapt my articulation and tempo.
It seems everything must be played slower and more detached in such a space.
Despite all these challenges, though, this piece is one of the biggest dreams for any organist.
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