Maurits Bunt (*1997) is organist, klavecinist, kerkmusicus en beiaardier. Hij studeerde orgel bij Sietze de Vries (privé), Bas de Vroome en Aart Bergwerff, improvisatie bij Hayo Boerema en kerkmuziek bij Hanna Rijken en Arie Hoek aan het Codarts conservatorium Rotterdam. De masterstudies orgel bij Ton Koopman en Hayo Boerema, en beiaard bij Frans Haagen en Christiaan Winter sloot hij beide cum laude af. In 2014 won hij als klavecinist de eerste prijs tijdens het concours van het Bachfestival Lelystad.
Maurits is werkzaam als titulair-organist van de Bergkerk in Deventer en als kerkmusicus van de Evangelisch Lutherse kerk in Apeldoorn. Hij is stadsbeiaardier van Groningen en beiaardier van Epe. Als orgel en klavecimbeldocent is hij verbonden aan de Muziekschool Barneveld en als orgeldocent aan de Muziekschool Rijssen. Daarnaast heeft hij een privé-lespraktijk in Ede en in zijn woonplaats Klarenbeek.
Meer informatie en concertagenda: www.mauritsbunt.nl
Bach's Fantasy in G minor, the counterpart of his equally dramatic Chromatic Fantasy for harpsichord (origin: Weimar II), which is here exhibited in a predominantly very loud manner (as is usually the case, unfortunately), would this be in accordance with the rhetorical nature of the composition? NO WAY The fact that the essentially separate Fantasy in G minor (with only the modal signature B flat) is also combined here with Bach's equally separate Fugue in G minor (with two tonal signatures, B flat and E flat, and which is based on the Dutch folk song 'Ik ben gegroet' [which was the personal theme song of Bach's older colleague-organist and -composer from Hamburg Johann Adams Reincken, who was originally Dutch by the name of Jan Adamszoon Reinken] can be understood as a form of modern accommodation to ingrained playing habits. Original composition manuscripts of both works have not been handed down. The vast majority of 18th century copy manuscripts, however, perform both organ works separately. In only a few copy manuscripts do both appear to be combined. Bach did later add a chromatically grounded (newly composed) Fugue to the Chromatic Fantasy for harpsichord during his Leipzig tenure. Such an extension of a one-movement work as the Fantasy he almost certainly did not tackle, the Fantasy for organ remained single, became not a diptych like the ChromatiC Fantasy. Bach composed the free Fugue in g minor, with its overwhelming virtuoso bravura touch in Cöthen, with a view to an organ audition in the autumn of 1722 in Hamburg because of a vacancy for organist of the St. Jacobi Church in the wealthy, bustling North German port city Hamburg. Eventually Bach, having arrived in Hamburg, quickly withdrew as a candidate for the organist vacancy, Among other things, as it only became apparent on the spot, because of the limited scope that 37-yearsc old Bach - versatile composer and ambitious performing artist - was allowed in and outside the St. Jacobi Church in the musically very dynamic portcity. Hamburg was the only city in Germany to had a civic operahouse 'at the Goosemarket' that was co-founded by the aforementioned Johann Adams Reincken, who as a brilliant organist of the prominent St. Catherine's Church in Hamburg was considered the 'music pope' for years of the entire city. Bach if organist of the Jacobi Church was supposed to function within precisely defined lines and not at all outside of them. Bach had no interest in this at all, also from a financial point of view, or in other words: exit Hamburg. With as a lasting memory in this failed jobapplication adventure: the Fugue in G minor, based on the Dutch folk song 'Ik ben gegroet' so cherished by good old Johann Adams Reincken.
Nu pas ontdekt, maar wat een aangename verrassing vormt deze fenomenale uitvoering van dit meesterstuk van Bach! Indrukwekkend, zo zonder bladmuziek, dan ben je een meer dan talentvol musicus. Dank en complimenten, Maurits!
Really impressive Maurits, many thanks! And what a marvelous instrument, even featuring a 32-foot stop in the pedal, wow ... And although I am not sure if Liszt wrote this piece for harmonium, it still makes sense because later in his life (when he was ordained "Abbé Liszt" in Rome by his good friend the Cardinal of Schillingsfürst - I visited the castle of Schillingsfürst in north-west-Bavaria recently, very impressive, especially the "Liszt Zimmer" but also the Liszt monument in the nearby "Kardinalsgarten")
Love this piece full of such vibrant energy. What a capturing of joy and power; the spirit of Bach comes alive and notes of music express the essence of joy.Well played. Sadly my arthritis no longer allows me to dance this tune out on a keyboard; so thrilled by a wonderful performance with excellent registration choices. Only thing is the insertion of an add destroys the meaning by being placed at a place in the heart of the performance. When are advertisers going to learn such a jerky thing to do puts people off and I, for one, wouldn’t touch their product. I would gladly listen to the add either before or after the piece, but for God’s sake don’t place it in a vital section at the heart of the piece; I don’t even want to know what that product is, and whoever they work for should fire them for their insensitivity.
As I could realize, you played the infra-B due to the ravalement in the pedals, right? Congratulations! It's the first time I listen to a performance on an organ with such resource.
Well, this organ doesn't have a ravalement, so on that particular place I played a F-sharp and a B in the lowest octave. But I feel happy you like the recording! Thank you so much
Did I see the Positif keyboard move? Do they ALL move the same way? That was interesting. Does it then couple to the Grand Orgue? Or does it just get out of the way?
Yes, well spotted! You can push the Positif keyboard underneath the Grand Orgue, so that the keys of the Grand Orgue can push down the keys of the Positif too. Just a very simple but great way to couple two keyboards.
Het is een ontzettend fraai, maar net zo moeilijk orgel. 3 16 voeten op het hoofdwerk, maar geen vrij pedaal. Hierdoor klinkt de pedaalpartij meestal te zwak. Ik speel hier in de linkerhand op het hoofdwerk met de Prestant 16' en Holpijp 8' een oktaaf hoger, waardoor ik wel een 16' in het pedaal heb. C.f. op rugpositief met Prestant 8' en de schitterende Quintfluit 3'.
Quelle merveille j’ai toujours des frissons mon Ancêtres à jouer sur cette instruments à 1750, il était maître de musique. Merci pour cette belle vidéo.
Dat je dit kunt goed spelen lijdt geen twijfel 😀; wel had-ie van mij een tikkeltje langzamer gemogen. Maar meestal zegt de organist dan dat hij hier bewust voor gekozen heeft 😉
