@@keplergso8369 it is not a "baroque tempo" (definition ???), but a tempo that takes into account the generous acoustics of San Simpliciano. Anything faster and you'll get porridge.
@@Airy59 When I say "baroque tempo" I mean "no romantic presto" like it is too often played, as soon there are semiquavers in an organ score some organists play like a Liszt score on a piano.. Anyway, at this time mechanics did not allow to play very fast, and in church there is always reverberation.
Tempo pacato e "sontuoso" che lascia il tempo di riflettere su ogni frase. Organo magnifico e ottime scelte foniche. Brava, Maestro Held. Quando risuonano le note di Bach e di questi capolavori organistici in particolare il luogo assume un'energia speciale.
Complimenti sei bravissima, lo strumento è molto buono e l'accordatura rende onore alla tua tua interpretazione...sei grande è un onore poterti ascoltare
Complimenti! Tra le innumerevoli interpretazioni, questa eccelle sopratutto per l'impiego dei registri e del tempo scelto e nella fuga si possono ascoltare tutte le voci in una armonia ed equilibrio veramente interessanti: insomma un bel coro affiatato senza "sgomitate" per far sentire solo la propria voce. Complimenti per le riprese audio e video! SPQR ;)
This piece of organ music is a justly famous and frequently played war-horse. To distinguish it from the many other versions, there needs to be an almost indefinable "something", which in this case is a relaxed tempo and utterly fluent touch. And to top it off, of course, there is the wonderful organ of Jurgen Ahrend, imo, the modern day Arp Schnitger.
A masterpiece. Good tempo, not rushing, don't forget it is baroque music, not romantic. Fugue is huge, a wonderful piece too. Italian organs sound good for german baroque music (but not for french baroque).
This one a Northern-German-baroquish organ by Jürgen Ahrend. No wonder it serves the music well. But admittedly, later Italian organs, esp. mid-XIXth century, do a good job. Earlier, not so much, lacking suitable pedalboards.
@@Airy59 I agree, I was talking about modern italian organs which have adjusted to german influence. Pedal keyboard indeed, and stops. For french baroque repertoire, it is more difficult, french organs need powerful reeds (that we can find on all romantic/symphonic french organs), ample and deep funds, 'Furnitures' ('Mixtures') not too much sharp, and specific stops (Cromorne, Cornet, etc...). In fact, only french baroque organs have the good sound for the french repertoire, in my opinion.
IMHO, the best instruments for french baroque repertoire (not considering the french baroque organs, obv) are some Italian "symphonic" instruments of the second half of XIX century. I think to some Serassi, Locatelli or Lingiardi organs with a lot of reeds and cornets. Naturally, they aren't Clicquot or Isnard, but french baroque repertoire sounds good.
Interesting. Nice pace and tempo. Registration is kind of limited in different ways by this organ specification. I have been impressed and have to respect the registration that was chosen.
This is all very polished and accomplished, all due respect to you, but for my taste the tempo drags significantly in the Toccata. Where is the panache, the jubilance, the sparkle? And the fugue sounds like an academic discourse. Have you not heard Karl Richter's version on DGG? But I suppose he is dismissed as irrelevant in today's music faculties.
I love this piece. This is a Toccata that feels like a bicycle ride--sometimes you wonder how the organist stays on. I always wait for the entry of the main pedal part at about the one-minute mark, because that's when the initial exuberant tempo of playing on two manuals has to contend with the realities of playing semiquavers in the pedals. Only the most accomplished can avoid a slow-down, after which the piece usually settles down to something mere mortals might actually be able to do. I first heard this played by Virgil Fox in a recording from the 1960s [mentioned below in the comments, but I'm not sure whether intended scathingly or not], and he attacks the Toccata at a helluva pace from the start and yet manages to maintain the tempo when the pedal really kicks off. He also uses an insanely heavier pedal registration than this delightfully delicate performance.
I totally desagree, that is the right tempo, don't forget that is baroque music, nothing romantic. I hate this toccata played rushing, Virgil Fox is the worst example, losing majesty. The tempo of the fugue is here perfect too. I am not sure Karl Richter is the best example too, I know all his LP's, I prefer his contemporary Helmut Walcha (moderato tempo for this toccata !), and listen to other modern german or french organists, playing at this moderato tempo.
@@Airy59 lol, the worst example ! Playing Bach like Liszt, it is obsolete performances ! Until the 70's or 80', we heard baroque music played like nonsense : rubato, Liszt tempi, etc... Fortunately, nowdays musicians much more respect baroque phrasing and tempi, searching more authenticity without altering the spirit of this music.
![VENEZUELA vs. ARGENTINA [1-1] | RESUMEN | ELIMINATORIAS SUDAMERICANAS | FECHA 9](http://i.ytimg.com/vi/SJfoPdeOPCQ/mqdefault.jpg)
Crystal clear, I can hear all de notes! Very pleasant tempo. Thanks a lot.
Your pedal work is
Very very exciting to watch
The way your feet dance across the pedals
Beautiful
Perfect tempo - no rush! And the precise manual and pedal play. This is the only way to enjoy this music - thank you
I agree, that is a baroque tempo, letting time to hear the notes, not anachronistic tempi like we hear too often !
@@keplergso8369 it is not a "baroque tempo" (definition ???), but a tempo that takes into account the generous acoustics of San Simpliciano. Anything faster and you'll get porridge.
@@Airy59 When I say "baroque tempo" I mean "no romantic presto" like it is too often played, as soon there are semiquavers in an organ score some organists play like a Liszt score on a piano.. Anyway, at this time mechanics did not allow to play very fast, and in church there is always reverberation.
Tempo pacato e "sontuoso" che lascia il tempo di riflettere su ogni frase. Organo magnifico e ottime scelte foniche. Brava, Maestro Held.
Quando risuonano le note di Bach e di questi capolavori organistici in particolare il luogo assume un'energia speciale.
Beautiful playing and a beautiful organ.
Molto bellissimo. Grazie mille.
An outstanding performance!
Complimenti sei bravissima, lo strumento è molto buono e l'accordatura rende onore alla tua tua interpretazione...sei grande è un onore poterti ascoltare
Complimenti! Tra le innumerevoli interpretazioni, questa eccelle sopratutto per l'impiego dei registri e del tempo scelto e nella fuga si possono ascoltare tutte le voci in una armonia ed equilibrio veramente interessanti: insomma un bel coro affiatato senza "sgomitate" per far sentire solo la propria voce. Complimenti per le riprese audio e video! SPQR ;)
This piece of organ music is a justly famous and frequently played war-horse. To distinguish it from the many other versions, there needs to be an almost indefinable "something", which in this case is a relaxed tempo and utterly fluent touch. And to top it off, of course, there is the wonderful organ of Jurgen Ahrend, imo, the modern day Arp Schnitger.
Wunderbar!!!
I hope there will be a new CD soon. Thanks for this wonderful music!
A masterpiece. Good tempo, not rushing, don't forget it is baroque music, not romantic. Fugue is huge, a wonderful piece too. Italian organs sound good for german baroque music (but not for french baroque).
This one a Northern-German-baroquish organ by Jürgen Ahrend. No wonder it serves the music well. But admittedly, later Italian organs, esp. mid-XIXth century, do a good job. Earlier, not so much, lacking suitable pedalboards.
@@Airy59 I agree, I was talking about modern italian organs which have adjusted to german influence. Pedal keyboard indeed, and stops. For french baroque repertoire, it is more difficult, french organs need powerful reeds (that we can find on all romantic/symphonic french organs), ample and deep funds, 'Furnitures' ('Mixtures') not too much sharp, and specific stops (Cromorne, Cornet, etc...). In fact, only french baroque organs have the good sound for the french repertoire, in my opinion.
IMHO, the best instruments for french baroque repertoire (not considering the french baroque organs, obv) are some Italian "symphonic" instruments of the second half of XIX century. I think to some Serassi, Locatelli or Lingiardi organs with a lot of reeds and cornets. Naturally, they aren't Clicquot or Isnard, but french baroque repertoire sounds good.
@@LaMantovanaChannel Thank you for your answer, I confess that I don't know all the italian organs !
You are welcome! Here on RUclips (and on my channel too) you can find something :)
Interesting. Nice pace and tempo. Registration is kind of limited in different ways by this organ specification. I have been impressed and have to respect the registration that was chosen.
Bravissima, ,vorrei sapere identita di codesta eccllente interprete
È l'organo meccanico aehrend di San Simpliciano ?
Si. Jürgen Ahrend.
This is all very polished and accomplished, all due respect to you, but for my taste the tempo drags significantly in the Toccata. Where is the panache, the jubilance, the sparkle? And the fugue sounds like an academic discourse. Have you not heard Karl Richter's version on DGG? But I suppose he is dismissed as irrelevant in today's music faculties.
why not come up with Virgil Fox ;)
This is close to perfect tempo
I love this piece. This is a Toccata that feels like a bicycle ride--sometimes you wonder how the organist stays on. I always wait for the entry of the main pedal part at about the one-minute mark, because that's when the initial exuberant tempo of playing on two manuals has to contend with the realities of playing semiquavers in the pedals. Only the most accomplished can avoid a slow-down, after which the piece usually settles down to something mere mortals might actually be able to do. I first heard this played by Virgil Fox in a recording from the 1960s [mentioned below in the comments, but I'm not sure whether intended scathingly or not], and he attacks the Toccata at a helluva pace from the start and yet manages to maintain the tempo when the pedal really kicks off. He also uses an insanely heavier pedal registration than this delightfully delicate performance.
I totally desagree, that is the right tempo, don't forget that is baroque music, nothing romantic. I hate this toccata played rushing, Virgil Fox is the worst example, losing majesty. The tempo of the fugue is here perfect too. I am not sure Karl Richter is the best example too, I know all his LP's, I prefer his contemporary Helmut Walcha (moderato tempo for this toccata !), and listen to other modern german or french organists, playing at this moderato tempo.
@@Airy59 lol, the worst example ! Playing Bach like Liszt, it is obsolete performances ! Until the 70's or 80', we heard baroque music played like nonsense : rubato, Liszt tempi, etc... Fortunately, nowdays musicians much more respect baroque phrasing and tempi, searching more authenticity without altering the spirit of this music.