Without knowing the history of this organ, I should not be surprised to learn that Master Bromaugh based his design around the wonderful Batz organ of the Lutheran Church of The Hague. Superbly presented (as usual), Mr Karosi. Registration details to the side are appreciated. Your selection of chorales brought a tear of nostalgic memory of Piet Kee doing the same at The Bavo many years ago.
A very fine selection of Bach pieces, excellently played as always by Balint. The Organ is impressive too. The live audience may have been small, but I'm certain the livestream one was not. From Chicago, U.S.A.
You should check out the Rosales at Trinity Cathedral in Portland sometime.....I live across the street so if you do ever perform there you will see me.
In all respects, this post was wonderful ! Thank you for providing it for our enrichment. I thought the combination of stops used for “Wir glauben all an einen Gott” sounded so much like a reed organ and had a different and somewhat curious charm.
BWV 562 is beautiful, but extremely hard to play for me. I admire the fact that you can play it, but also the great registration choice and how you articulate the motifs so the polyphony shines beautifully through! Well done!
Cool how the concert program is close to how Bach himself probably ran his performances. Out of interest, is the program based of the third part of Clavier-Ubung?
Dear Balint. On February 25, 2022, after listening to one of your great performances here on RUclips, I sent you a question in an email about Bach’s The Art of Fugue, BWV 1080: Contrapunctus inversus XIII a 3. I have not heard anything back from you. I know that you are a busy person and cannot reply to everybody. Yet hope springs eternal in the human breast. This is all I wanted you to know...Andrew Ernyes from Canada.
@@bkarosi I wish that I had access to your email address (the only one I got was a gmail one for business contacting). This is a copy of the essence from that email: "Some weeks ago, I gathered my courage and approached you on your website contact page, asking for help with Bach’s The Art of Fugue, BWV 1080: Contrapunctus inversus XIII a 3, forma inversa. You have a gorgeous harpsichord recording of this fugue among your playlists. I am trying (at the age of 80) to learn this piece on a Hauptwerk system I built. I have the sound set of a Mietke harpsichord with a pedalboard extension. Using the sheet music of this piece, I started to learn it, but I soon bumped into a few places where it is impossible to reach the necessary keys simultaneously with the two hands. What is the solution? Should I use the pedals to help in those difficult spots? How did you solve this problem on the harpsichord?" Best regards, Andrew Ernyes......
@@OldPannonian Dear Andrew, I know exactly the places you are talking about. It is perfectly fine to take those wide chords with the pedal. I think that on a historical keyboard, with narrower keys, it is easier to reach those wide intervals, and that is how I played them.
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One of the authentic geniuses of contemporary Bach performance. Exemplary in every way, as always.
Surprised. What a modern looking church for such a classic looking organ.
Bach himself would be proud. Well done Dr. Karosi!
Thank you very much for this concert on youtube. Fantastic performance! Bravissimo!
That is a beautiful organ, with a beautiful concert.
Beautifully crafted. thanks for the registrations.
Bravo, thank you.
Toujours impeccable! Organiste de premier rang! Bravo Monsieur!
Es ist das Heil is such a jolly little tune! Thanks for this Concert! I enjoyed it completely.
KÖSZÖNÖM SZÉPEN!
Without knowing the history of this organ, I should not be surprised to learn that Master Bromaugh based his design around the wonderful Batz organ of the Lutheran Church of The Hague. Superbly presented (as usual), Mr Karosi. Registration details to the side are appreciated. Your selection of chorales brought a tear of nostalgic memory of Piet Kee doing the same at The Bavo many years ago.
All I can say is BRAVO Maestro!
What wonderful playing. Playing the orgelbuchlein chorales one after the other is no easy feat!
Superb in every way. Thank you so much BK!
The first piece is just incredibly misterious
A very fine selection of Bach pieces, excellently played as always by Balint. The Organ is impressive too. The live audience may have been small, but I'm certain the livestream one was not. From Chicago, U.S.A.
You should check out the Rosales at Trinity Cathedral in Portland sometime.....I live across the street so if you do ever perform there you will see me.
In all respects, this post was wonderful ! Thank you for providing it for our enrichment. I thought the combination of stops used for “Wir glauben all an einen Gott” sounded so much like a reed organ and had a different and somewhat curious charm.
This is a fantastic concert! Well done Balint...you truly bring the music of Bach to its fullest beauty! =)
BWV 562 is beautiful, but extremely hard to play for me.
I admire the fact that you can play it, but also the great registration choice and how you articulate the motifs so the polyphony shines beautifully through!
Well done!
excellent organ, excellent playing (registration, tempo, articulation), excellent music - wow!
Eccellente! As usual ❤
Wonderful to hear and see you play. One odd thing: The title states BWV 538, but there's no Toccata in the track listing
A master performance, demonstrating your great passion for the works. Thoroughly enjoyable and very well videotaped and produced. Thank you.
Музыка с небес
Extra ornamentation in these pieces? I've got the Kalmus set of music and didn't see a lot of these in there. Excellent playing though!
swoon
Cool how the concert program is close to how Bach himself probably ran his performances. Out of interest, is the program based of the third part of Clavier-Ubung?
These chorales are from the Orgelbüchlein and the Neumeister Chorales. The last chorale fantasy was just recently discovered in 2008
Dear Balint. On February 25, 2022, after listening to one of your great performances here on RUclips, I sent you a question in an email about Bach’s The Art of Fugue, BWV 1080: Contrapunctus inversus XIII a 3.
I have not heard anything back from you. I know that you are a busy person and cannot reply to everybody. Yet hope springs eternal in the human breast. This is all I wanted you to know...Andrew Ernyes from Canada.
Sorry didn’t see it. What was the question?
@@bkarosi
I wish that I had access to your email address (the only one I got was a gmail one for business contacting). This is a copy of the essence from that email:
"Some weeks ago, I gathered my courage and approached you on your website contact page, asking for help with Bach’s The Art of Fugue, BWV 1080: Contrapunctus inversus XIII a 3, forma inversa. You have a gorgeous harpsichord recording of this fugue among your playlists. I am trying (at the age of 80) to learn this piece on a Hauptwerk system I built. I have the sound set of a Mietke harpsichord with a pedalboard extension. Using the sheet music of this piece, I started to learn it, but I soon bumped into a few places where it is impossible to reach the necessary keys simultaneously with the two hands. What is the solution? Should I use the pedals to help in those difficult spots? How did you solve this problem on the harpsichord?" Best regards, Andrew Ernyes......
@@OldPannonian Dear Andrew, I know exactly the places you are talking about. It is perfectly fine to take those wide chords with the pedal. I think that on a historical keyboard, with narrower keys, it is easier to reach those wide intervals, and that is how I played them.