8 short preludes and fugues for organ not by J S Bach no. 5 in G major, BWV 557

Music performance starts at 4:27. For each of the 8 short preludes and fugues in order, see • 8 short preludes and f...
Learning to play the organ using the "8 short preludes and fugues" (8 Kleine Präludien und Fugen, BWV 553-560). Describing them as "not by J S Bach" is a deliberate dig - these pieces really ought to be enjoyed in their own right rather than being derided for what they are not.
Episode 5: Number 5 in G major.
The series is presented by Dr Tim Rishton (www.rishton.eu)
This episode was recorded in St.-Johanniskirche, Neubrandenburg in Germany. For details of the organ, see orgel-verzeich...

[@timrishton5871]

For all the "8 short" episodes in order, see ruclips.net/p/PLABcWksVExXvcMfZzhf9XLHeXqlSj0QiJ Thanks for all the questions and feedback - all appreciated!

[@JohSebBach544]

Nice with the pedal trills in the fugue!

[@Filius-kr9hk]

Yes, not heard that done before. Sounds good.

[@timrishton5871]

Glad you like it! Tim

[@aksuli1]

Nice registration.

[@timrishton5871]

Thanks! It's a good instrument, which easily sounds right! Tim

[@Thueringerorgel]

Eine einzigartige und wertvolle Serie, mit Aufführungshinweisen zu jedem Stück einzeln und zu den Präludien als Ganzes. Es gibt nichts anderes wie es auf YT. Vielen Dank für all die Arbeit und dafür, dass Sie sie zur Verfügung stellen!

[@timrishton5871]

Herzlichen Dank! Ich freue mich, dass Sie die Filme nützlich finden. Tim

[@malcleitch7106]

Thanks for your comments and playing. Am wondering what is it that Bach would not do?

[@timrishton5871]

Glad you're enjoying the series! It's not my place to criticise the work, but if the composer had asked for feedback I might have suggested that bars 6-8, with those descending chords in "closed" patterns give an uncomfortably stop-start feel, that the first semiquaver of bar 10 might have been a rest rather than an A because the note arrives with a bit of a jolt after the pattern established in bar 9; odds and ends like that. It's just a few odd places where you feel that the music doesn't flow quite naturally; where you're suddenly aware of the composer asking "what do I do here?". Tim