Good ear. The arrangement I played deviates from the Dukas orchestral (brass) score at 1:09. Dukas has a Gb diminished chord (Gb-Bb-D) with an added dissonant F (so Gb in tuba and 2nd trombone, major 7th F in horns), while the arrangement only has the Gb diminished chord. However, at 1:12, the arrangement has a plain A major chord, which is indeed what Dukas wrote and what I played.
Mr. Kriewall beautifully played! This one of my favorite organ pieces and every time I hear it played, it sends chills of excitement up and down my spine! Thank you!!
What a beautiful performance on such a wonderful instrument for Bach. I have personally played this piece, on this organ back in my youth, but not nearly as flawlessly.
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Beautiful! Significant to end with Halleluja! Gott zu loben 1 Halleluja! Gott zu loben bleibe meine Seelen Freud, ewig sei mein Gott erhoben, meine Harfe Ihm geweiht! Ja, solang ich leb’ und bin, dank, anbet’ und preis ich Ihn. 2 Setzt auf Fürsten kein Vertrauen, Fürstenheil steht nimmer fest; wollt ihr auf den Menschen bauen, dessen Geist ihn bald verlässt? Seht, er fällt, des Todes Raub, und sein Anschlag in den Staub! 3 Heil dem, der im Erdenleben Jakob’s Gott zur Hilfe hat, der sich dem hat ganz ergeben, dessen Nam’ ist Rat und Tat! Hofft er von dem Herrn sein Heil, seht! Gott selber wird sein Teil! 4 Er, der Himmel, Meer und Erde mit all ihrer Füll und Pracht durch Sein schaffendes "Es werde" hat aus nichts hervorgebracht, Er, der Herrscher aller Welt, ist's, der Treu und Glauben hält! 5 Er ist’s der den Fremdling schützet, der die Witwen hält in Stand, Der die Waisen unterstützet, ja sie führt an seiner Hand Der Gottlosen Wege er- kehret in des Todes Nacht. 6 Er, der Herr, ist’s, der den Blinden lieblich schenket das Gesicht; die Gebeugten, Kranken finden bei Ihm Stärke, Trost und Licht. Seht, wie Gott, der alles gibt, Immer treu die Seinen liebt. 7 Er ist Gott und Herr und König, Er regieret ewiglich, Zion, sei ihm untertänig, freu mit deinen Kindern dich! Sieh, dein Herr und Gott ist da! Halleluja! Er ist nah! Text: Matthias Jorissen (*1739 †1823)
Goose bumps all the way ! As we imagine JSB himself would have played it on the type of instrument he knew. Just wonderful !! Superb musicianship ! Full of energy ! Love the stops, tempo, and touch. Bach lives in you Sir !
Excellent performance. Top notch. I admire your dedication to get your masters at 59. It’d very difficult when we’re older. I am 65 and retired after 40 years of playing. I developed a medical disability at 57 and could no longer play, but I love performances like yours. Bravo 👍
Thank you David, It is a real joy to watch a live performance of Bach's Orgelbuchlein (on youtube), I been waiting for years to hear a live concert of this work in a church. Please continue to upload your performances . TW from London
M U S I Q U E. .C L A S S I Q U E. .M O D E R N E - P a u l. .H I N D E M I T H - Compositeur, Chef d'orchestre et Altiste allemand de < La Période Moderne >. Né à Hanau - D -, le 16 novembre 1895 ; Décédé le 28 décembre 1963 , à Francfort-sur-le-Main - D -. En juin 1937 , Paul Hindemith compose la Seconde des < Trois Sonates > dédiées à l'Orgue. Cette Sonate N° II , fut créée à Londres , le 18 janvier 1938 , par l'Organiste Ralph Downes. Avec des Artistes amis , tels que Bertolt Brecht , Kurt Weill (L'Opéra de Quat' sous), Hindemith combat , dès l'avènement du < Troisième Reich > , l'idéologie mortifère prônée et imposée par Adolf Hitler. Son Oeuvre , qualifiée de "décadente" par les tenants du régime nazi , inaugure un style d'écriture musicale résolument novateur. Note: Heaumes de chevaliers , ... créneaux des châteaux-forts , ... (vision fugitive ... comme en un songe surgi du fond du Moyen-Age) , vous apparaîtra dans le Premier Mouvement de la Sonate ... Bonne écoute ! ...
I can`t stand that! One conductor actually encourages that in between movements of "The Planets"! It is treating these profound works like a series of light pieces played at a tea garden party - or, maybe, at the end of the pier.
Sir! What a wonderful performance! I salute you! It has presence and command of the music. You played it as I imagine Bach himself would have performed it. The real beauty is in the descending line of the pedal and you brought that to life. Thank you! Bach still lives.
Masterful musicianship is demonstrated here! And (the late) Dirk Andries Flentrop and his team has done a terrific job with making this instrument in 1965!
That's a challenge! You eventually would need a pedalboard. There are companies who make practice organs of various types; for example, mine comes from MidiWorks.ca. But to make good progress, you would also need a teacher. I'm sorry for your circumstances. I hope you'll be able to play someday :-)
Is that a tracker or some kind of hybrid tracker-electropneumatic? I see the manual keys moving with the pedals, but I also see short-throw drawknobs and an electronic interface.
It's a tracker -- all mechanical keyboards and connections to the tone valve under the pipe -- but the combination action is electric, with solenoids to move the sliders on the chests. The 3-digit LED readout indicates memory bank for presets.
@@DaveKriewall fascinating, but if you're going to go to the trouble of putting in electronic draw knobs, why not just make the action electrical as well?
@@arthurserino2254 Because mechanical action allows the organist finer-grained control over attack and release characteristics of the pipes. Most electric actions are simply on-off; when the key is depressed to the point of making electrical contact, the valve under the pipe just opens immediately. With a mechanical connection, the weight of the arm or finger are transferred to the valve; it can be opened slower or faster. It would be like replacing all pianos with electric keyboards; the 'touch' is removed.
@@arthurserino2254 I did not mean to imply that the touch of a tracker organ compares with that of a piano; I meant that there is a difference in the touch between a tracker and electric action organ, just as there is a difference between a mechanical piano and an electric keyboard. The mechanical actions provide the performer a certain feel and control that is missing in the electrically activated counterparts. Not unlike the difference between a manual transmission and an automatic transmission in a car. Some prefer one over the other.
