Outstanding playing! Best version of BWV I've heard, and I've ghear a LOT of versions! The organ, style of playing, acoustics, recording are al A++. I particularly enjoye Ms. Gremmel-Geuchen's "cantabile" style of playing the closing bars of the fugue on the pedall: simple strretching the ast notes, like a basso opera singer! Bravo!!
Why do "modern" organists refuse a change of registration for different sections of a piece? Basically Mixture used all the way through with no place to build up to the climax. I have an old recording of Daniel Chorzempa performing this & as Helmut Walcha used to do, the registration is "built up" as the piece develops leading to a type "finale" at the end. Check out those performances & you'll immediately hear what I mean.
I assume because we assume that Bach himself played it this way. He had only the boys providing the air for playing, but he did not have people to pull the stops while he was playing most times. And the selection of stops of baroque organs did not allow for the crescendo that romantic organs can offer, eventually even with a crescendo roll. Some real experts here to correct me?
Todd Baxter. When discussing performances of old music, we must always remember that there are two main directions: 1) Musicans who are not interested in restoring the old music. 2) On the other hand, musicans who try to perform closer to the original style. Just as we want to restore old historical buildings in their original style, some of us think it is important to think in the same way when performing old music, therefore some "modern" organists sound different from Chorzempa and Walcha. BWV 532 composed Bach to show his technical skills. There was no need for a change of registrations because the individual parts create variety, and with Bach's improvisations listeners were served something new almost all the time. Important details such as improvisations are completely forgotten in Chorzempa and Walcha's performances.
Here is Chorzempa's performance of the same piece. Notice especially in the fugue how he builds up the regstration towards a fiery climax. That's called being "musical." ruclips.net/video/gA73G_ya9gs/видео.html
Excellent performance!!
Talking about 'pulling out all the stops' at the beginning. I knew that this was a prelude to a great performance! Also, I love the name, Ute.
wow what a perfect recording. NIce to hear Ute again on RUclips.
Sei bravissima, complimenti , tecnica eccellente e interpretazione sentita...sei grande ❤👍👏
Bernd Straub , hervorragend dargeboten , gefällt mir sehr . 🙏
Ausgezeichnet!
BRAVO !!!! MAGNIFIQUE !!!!
Outstanding playing! Best version of BWV I've heard, and I've ghear a LOT of versions! The organ, style of playing, acoustics, recording are al A++. I particularly enjoye Ms. Gremmel-Geuchen's "cantabile" style of playing the closing bars of the fugue on the pedall: simple strretching the ast notes, like a basso opera singer! Bravo!!
Excellent!!!
Love the pedal work
Herzlichen Dank
0:24 Preludium
5:13 Fuga
Exceptionnel ❤❤❤❤
Heel moii. Great organist
I love this piece! I'd say that the organ has been tuned as A=466Hz, correct?
Le diapason est de La=463 Hz. Salutations d'Orléans, France.
Voilà, 463 Hz, merci Bernardo Chevilly.
Merci bien!
Why do "modern" organists refuse a change of registration for different sections of a piece? Basically Mixture used all the way through with no place to build up to the climax. I have an old recording of Daniel Chorzempa performing this & as Helmut Walcha used to do, the registration is "built up" as the piece develops leading to a type "finale" at the end. Check out those performances & you'll immediately hear what I mean.
I assume because we assume that Bach himself played it this way. He had only the boys providing the air for playing, but he did not have people to pull the stops while he was playing most times. And the selection of stops of baroque organs did not allow for the crescendo that romantic organs can offer, eventually even with a crescendo roll. Some real experts here to correct me?
Todd Baxter. When discussing performances of old music, we must always remember that there are two main directions: 1) Musicans who are not interested in restoring the old music. 2) On the other hand, musicans who try to perform closer to the original style. Just as we want to restore old historical buildings in their original style, some of us think it is important to think in the same way when performing old music, therefore some "modern" organists sound different from Chorzempa and Walcha. BWV 532 composed Bach to show his technical skills. There was no need for a change of registrations because the individual parts create variety, and with Bach's improvisations listeners were served something new almost all the time. Important details such as improvisations are completely forgotten in Chorzempa and Walcha's performances.
Vitaal en muzikaal vertolkt
Zo wat kunnen de vrouwen mooi orgel spelen
Here is Chorzempa's performance of the same piece. Notice especially in the fugue how he builds up the regstration towards a fiery climax. That's called being "musical." ruclips.net/video/gA73G_ya9gs/видео.html