A better performance of this is yet to be made - it would however not be an easy task to outdo you! I had goosebumps all over! Brilliant technique, and the tempo, I believe, is just perfect. All ignorant peoples should have their introduction into the wonderful genre of organ music with this clip...
My favorite Bach of all time. I've watched/heard many performances of this piece. It took me months to learn it myself. I've never seen or heard a better performance than yours! BRAVO!
Si tratta di opera spuria. Non di J.S.Bach ma attribuita nel XIX secolo a Bach, ora in discussione. Si tratta comunque di un'opera bellissima, anche se era di altro autore sconosciuto.
Les mains, les pieds courent rapidement sur les claviers de l'orgue... Le T°, le rythme, le phrasé, les nuances et les accents, toujours bien placés, nous invitent à danser la Gigue...joyeusement ! Bravo à vous, cher ULF, et Merci beaucoup pour votre très belle interprétation !!
absolutely great!! GREAT!! Great ending. YOU HAVE GUTS..!!! Period. perfect tempo. anyone could dance to this...!!! Back would be proud...I am sure......................
I'll say it again - I ABSOLUTELY LOVE watching and hearing this being played, as someone else said the way you dance over the manuals and pedals is just a joy to watch!!!!!!!!! BRAVO
Excellent! I love how easily you are able to dance through the pedal sections while chopping away on the manuals. I have to say this is one of the very few good recordings I have seen of this piece. At 2:50 what you did to the pedals, that is the mark of a man truly worthy of calling himself an organist! Although there was one thing missing at the end.... a huge applause from a massive audience. Please do share some more of your playing with us.
This was 11 years ago; do you need to wear 'glasses' these days? I do hope not... Lovely performance and I admire you playing from such a minuscule, two-stave score!! Thanks for uploading. Kindest regards! Peter A
an extremely difficult/tricky piece. you have definitely got guts and I applaude your beautiful rendition entirely. there is a few minor issues (nothing wrong with the stops!) which many keyboard warriors here are keen to point out....pfft ignore them mate as I can promise you not one of them could do 3 bars of that pedal work! your performance was great Ulf be very proud!!!! 👍👍👍😁😁😁😁😁😁😁
Well the camera pans away right before the very last chord of the piece. The last shot of the pedals, he's simply playing and holding an octave, which allows the sound to naturally fill the space, giving it a comparably "fuller" body than in the shorter articulations. My speakers may deceive me but I believe the last chord, he's playing a fifth in the pedals: G and D, which causes a "resultant" effect, acoustically "creating" a G that's another octave lower than the currently speaking ranks.
I totally agree, Gene. This IS certainly a difficult piece. Few are able to play it in a really polished/expressive manner. The only thing I'd say about this splendid performance, is that the awesome reverb of that church prescribes a little more contrast between the great and choir manuals. The pedal also should have a bit softer stops, like the 16' Bourdon, Diapason or Tibia. For example, I'd suggest Ken Cowan's softer registration to this masterpiece (of course, this is a matter of personal taste). You can listen to almost every nuance there. Greetings everybody :) .
Registration starts out too big. What is the trill/pause at the beginning? Disrupts the drive. Unfortunate thathe mordents, grace-notes and trills heard at the beginning are not continued throughout the work. (More difficult but wortheffort!) At 2:08 why is the subject not brought in in the pedal? Instead, pedal abruptly starts at 2:20. What's the nonsense at the end? Slight pause at 2:50 was nice. Nice, steady rhythm!
Alternatively, he could have added a simple 32' stop right at the end (most likely a Bombarde I think), which, on the poor-quality sound system I have here, would provide about the same kind of rumbling as a resultant effect. (Also to note is that some pedal ranks will combine two ranks speaking a fifth apart in order to automatically create the "resultant" effect I mention in the original comment. Can you guess what such ranks are labelled?)
@phillyorganist This is probably "original" and is the first way I played it. However, bringing the pedal in at 57 seems much more logical and allows more building of the work, and I play it that way. Thanks for measure counts. I haven't seen the score in years.
Lol. I just started Organ 2 months ago....My teacher says it'll be a few years before I "Master" the instrument, but one day he walked in on me "attempting" to play this, and took the music off the stand and said, "In a few years; your not ready for this level of literature yet." ....I sat there grinning as he walked away bc all I was thinking about was the "YET" at the end of his sentence! ;)
Since at this point in my life I can not play all the notes at the right time, I will not post a video of me hacking through this beautiful piece of music.
Wonderful. Fast! Would like to hear ALL the mordents, grace notes and trills. Why upset the rhythmic drive and ruin the ending? E. Power Biggs is the best recording I have even heard.
I hate those neat stylistic same-registration-all-the-time -performances. If you have a large organ, why not use it to the full? Here Mr. Norberg shows how it should be played! Great fun to listen to.
I think that this piece needs few stops, no reeds, to stay clear. It sounds better on a middle or little organ. Here this piece is too much overloaded by too many stops.
@Diapasonic No competition. But any listener can be a judge. This is a fun, energetic performance, but unfortunate thathe important mordents, grace notes and trills, which are part of the subject, go missing after the beginning. The too silent manual at 1:47 is a distraction rather than a welcome contrast. And the sudden pedal entrance at 2:20 instead of starting the subject in the pedal at 2:07 makes no sense. The E. Power Biggs performance, while slower, remains the best.
Wonderful tempo! Why the pause at 0:23 ? Ruins the drive of this wonderful work. Tempo slows after pedal ends? At 2:06 I start the subject in the pedal. Makes much more sense. Redo without the ridiculous ending.
I just cant get over how BRILLIANT this is!!!!!! Im giving a standing ovation right now!!!
A better performance of this is yet to be made - it would however not be an easy task to outdo you! I had goosebumps all over!
Brilliant technique, and the tempo, I believe, is just perfect.
All ignorant peoples should have their introduction into the wonderful genre of organ music with this clip...
WOW ! An absolutely wonderful performance. The registration was very, very nice. A standing ovation is in order for sure!
My favorite Bach of all time. I've watched/heard many performances of this piece. It took me months to learn it myself. I've never seen or heard a better performance than yours! BRAVO!
ruclips.net/video/yz2TmvVhO_8/видео.html I like this one too
Si tratta di opera spuria. Non di J.S.Bach ma attribuita nel XIX secolo a Bach, ora in discussione. Si tratta comunque di un'opera bellissima, anche se era di altro autore sconosciuto.
Les mains, les pieds courent rapidement sur les claviers de l'orgue...
Le T°, le rythme, le phrasé, les nuances et les accents, toujours bien placés, nous invitent à danser la Gigue...joyeusement !
Bravo à vous, cher ULF, et Merci beaucoup pour votre très belle interprétation !!
Well done Ulf!
A spirited and masterful rendition of this little gem.
Very well done, Ulf! Thank you.
absolutely great!! GREAT!! Great ending. YOU HAVE GUTS..!!! Period. perfect tempo. anyone could dance to this...!!! Back would be proud...I am sure......................
Bravo pour cette impressionnante interprétation.
I'll say it again - I ABSOLUTELY LOVE watching and hearing this being played, as someone else said the way you dance over the manuals and pedals is just a joy to watch!!!!!!!!! BRAVO
Simply Splendid! Thank you so much for sharing.
Excellent! I love how easily you are able to dance through the pedal sections while chopping away on the manuals. I have to say this is one of the very few good recordings I have seen of this piece. At 2:50 what you did to the pedals, that is the mark of a man truly worthy of calling himself an organist!
Although there was one thing missing at the end.... a huge applause from a massive audience. Please do share some more of your playing with us.
Speechless. Brilliant!
Wonderful! Total power festival going on here!
Love the bright ‘reedy’ registration. And thank you for the Allegro tempo!
Beautifully executed
Waow, what a so little score:-)
Right! Are those "the hard parts?"
Great performance,,, impressive eyesight,,,
A blessing to hear this interpretation of the "gigue" by Ulf Norberg, imho!
Awesome! Very powerful at the end.
This was 11 years ago; do you need to wear 'glasses' these days? I do hope not... Lovely performance and I admire you playing from such a minuscule, two-stave score!! Thanks for uploading. Kindest regards!
Peter A
Time waits for no man. ruclips.net/video/s2GwzBWVQdM/видео.html
@@Briu1970 Ah!! Thanks, Briu. Yes, it comes to most of us in the end. 'Age wearies and the years condemn'.... Best wishes, Peter A :) :) :)
an extremely difficult/tricky piece. you have definitely got guts and I applaude your beautiful rendition entirely. there is a few minor issues (nothing wrong with the stops!) which many keyboard warriors here are keen to point out....pfft ignore them mate as I can promise you not one of them could do 3 bars of that pedal work!
your performance was great Ulf be very proud!!!! 👍👍👍😁😁😁😁😁😁😁
Speak for yourself.
Give it a rest fool
David James, I'm waiting for your video
Well the camera pans away right before the very last chord of the piece. The last shot of the pedals, he's simply playing and holding an octave, which allows the sound to naturally fill the space, giving it a comparably "fuller" body than in the shorter articulations. My speakers may deceive me but I believe the last chord, he's playing a fifth in the pedals: G and D, which causes a "resultant" effect, acoustically "creating" a G that's another octave lower than the currently speaking ranks.
Very nicely performed
Bravo Bravo BRAVO!!!!!! Extrememly well done! This is perhaps the FINEST version of the Jig Fugue I've ever heard! THANK YOU Ulf!
@Doozieus That loud trumpet like tone is known as "trumpet" or "bombard"
Superb.
Wonderful!!!!
Good....grief....incredible.
Oh YES!!!
Complimenti: che tecnica
Bravissimo!
Muy guapo!!
You're having too much fun. Thanks.
Brilliant!!!! Sooooooooooooooooooo jealous!!! lol
very good
I totally agree, Gene. This IS certainly a difficult piece. Few are able to play it in a really polished/expressive manner. The only thing I'd say about this splendid performance, is that the awesome reverb of that church prescribes a little more contrast between the great and choir manuals. The pedal also should have a bit softer stops, like the 16' Bourdon, Diapason or Tibia. For example, I'd suggest Ken Cowan's softer registration to this masterpiece (of course, this is a matter of personal taste). You can listen to almost every nuance there. Greetings everybody :) .
Great interpretation. Best on you tube.
Registration starts out too big. What is the trill/pause at the beginning? Disrupts the drive.
Unfortunate thathe mordents, grace-notes and trills heard at the beginning are not continued throughout the work. (More difficult but wortheffort!)
At 2:08 why is the subject not brought in in the pedal?
Instead, pedal abruptly starts at 2:20.
What's the nonsense at the end?
Slight pause at 2:50 was nice.
Nice, steady rhythm!
Alternatively, he could have added a simple 32' stop right at the end (most likely a Bombarde I think), which, on the poor-quality sound system I have here, would provide about the same kind of rumbling as a resultant effect. (Also to note is that some pedal ranks will combine two ranks speaking a fifth apart in order to automatically create the "resultant" effect I mention in the original comment. Can you guess what such ranks are labelled?)
Molto ben eseguita, mi complimento. Anche io la eseguo talvolta alla fine della messa.
@phillyorganist This is probably "original" and is the first way I played it.
However, bringing the pedal in at 57 seems much more logical and allows more building of the work, and I play it that way.
Thanks for measure counts. I haven't seen the score in years.
Lol. I just started Organ 2 months ago....My teacher says it'll be a few years before I "Master" the instrument, but one day he walked in on me "attempting" to play this, and took the music off the stand and said, "In a few years; your not ready for this level of literature yet." ....I sat there grinning as he walked away bc all I was thinking about was the "YET" at the end of his sentence! ;)
Since at this point in my life I can not play all the notes at the right time, I will not post a video of me hacking through this beautiful piece of music.
That's very intelligent. Luckily we have great musicians who upload their high quality interpretations, just like this organist did.
Wonderful.
Fast!
Would like to hear ALL the mordents, grace notes and trills.
Why upset the rhythmic drive and ruin the ending?
E. Power Biggs is the best recording I have even heard.
Why is it that so many people performing the Gigue fugue treat it as a ompetitition for speed? A gigue is a dance for good ness sake!
I hate those neat stylistic same-registration-all-the-time -performances. If you have a large organ, why not use it to the full? Here Mr. Norberg shows how it should be played! Great fun to listen to.
wow you changed the music.
Good work, although the ending octave chords are...an odd touch.
You should use less stops for this piece. The organ has really an impressive sound!
I think that this piece needs few stops, no reeds, to stay clear. It sounds better on a middle or little organ. Here this piece is too much overloaded by too many stops.
Too fast for the acoustic and not enough difference in the volume in the echo passages. A+++ for technique. Musicality? Sewing machine technique.
@Diapasonic No competition. But any listener can be a judge.
This is a fun, energetic performance, but unfortunate thathe important mordents, grace notes and trills, which are part of the subject, go missing after the beginning.
The too silent manual at 1:47 is a distraction rather than a welcome contrast.
And the sudden pedal entrance at 2:20 instead of starting the subject in the pedal at 2:07 makes no sense.
The E. Power Biggs performance, while slower, remains the best.
I can sum up this performance in 1 word, BUTCHERED!
Wonderful tempo!
Why the pause at 0:23 ? Ruins the drive of this wonderful work.
Tempo slows after pedal ends?
At 2:06 I start the subject in the pedal. Makes much more sense.
Redo without the ridiculous ending.
elaborate on BUTCHERED
Not so good. Errors, pauses, tempo issues, wrong stops... Nice try though.
He's merely a "musical ear" warrior.
"butchered"