I love the way Anna plays. Some musicians lose the music in their quest for technical perfection and others try too hard to impose themselves on the piece. Anna doesn't make either mistake.
I love her passion. You can see her love for what she does. I love listening to this kind of music now because it's delivered by someone who loves it and wants others to. Anna Lapwood is the Organ Queen.
What a pleasure to see, and hear, a young woman playing organ with such talent and joy in the eyes ! You show us the wide power of organ, both spiritual, classical and modern under your fingers (and feet !). Thank you for this fresh air in serious music.
I've always shied away from the Organ (and Harpsichord) but listening to Anna Lapwood play Bach has made me seek out all her recitals on RU-vid and i am now starting to develop an appreciate for this magnificent instrument and for the exceptional artist (and person) that is Anna Lapwood.
God must have surely composed such music through Bach.....heavenly. I have always held Simon Preston's Bach organ recordings to be unsurpassable..this is certainly at a similar level..lovely phrasing and dynamism and holds one's attention. These are tricky. Well played Anna.
I'm not a big fan of classical music, but somehow I made it to this video and enjoyed it! Especially the last part... wow! Seeing the way Anna plays (especially with her feet) makes me enjoy the music even more.
Well, nobody is perfect. Don't be afraid to 'like' classical music. The aversion you have is thanks to Hollywood, which denigrated this genre of music for many decades. Very little is sacred or respectable to the Hollywood magnates.
An instrument obviously designed for an octopus 🐙 (who can also drink tea while they play) but Anna is it’s absolute master … er … mistress. You know what I mean. 😊 She is amazing.
Very vivide and clean! Rhythmical and good tempo. Ariticulations , phrasing and accent were very natural and authentic, I felt very flesh, as if I met 21 century's New Marie-Claire-Alain?
Good performance. This begs a listen of Michel Chapuis' version with is more relaxed and breathing while maintaining a steady pace at a similar tempo. André Isoir's version is also wonderful.
00:28 I respect that you went to the trouble and learned to actually say "Bach". Too many lazy people say "buc" instead and that sounds so incredibly bad...
If I'm reincarnated as a 20-something British music lover, can I be your page turner? With iPads, does anyone even use page turners anymore? Lovely perfomance.
Why is it that smaller instruments such as this seem to have clearer articulation than the larger ones (e.g: St John's Smith Square in London--ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TzK-tYFGQx4.html)? Ms Lapwood's talent for the instrument and love of its related music are delightfully rendered for us.
think that the thing could be called acoustics of the building, or reverberation time, or some concept connected to these. combined with a larger distance of the recording gear to the instrument , in favour of any so called spatial impression .
Is it just me or am I hearing e naturals on measure 33 on the first movement on both hands when they are supposed to be e flats…?! Anybody cares to confirm? It just sounds so strange after the theme exposition on the dominant..
Very good. It's just that in view of performance practice in Bach's time with the short pedals, he had to use all toe, no heel. No big deal, just FYI. Good job.
russedav5. «No big deal». Well, we hear the difference between 9:37-38 (non legato) and 9:40-41 (legato), Sure, there will be a difference in musical express as well. Non legato brings more life to the music. A real challenge to play without heels has to be the pedal solo at the very end of the fugue, BWV 532. Keep in mind that the pedal board back then was plane, so the top and bottom keys were even a little further away from your feet then in our time. Because it is more fun to praise than to criticize, I would give her credit for not playing a stressful trill from the bery beginning of a long tone (9:56) but letting us hear the main tone before the trill begins. Also, it’s great to hear that she ‘s really playing correct at 10:05. Some organists cheat by playing triols, because it’s technically easier to play.
