mirabile esecuzione. Note pulite, distinte. Fraseggio sublime. Nei canoni iniziali si evidenzia a momenti una melodia nascosta nell'intreccio: forse un enigma voluto da Bach e qui messo in chiaro. Brava Maria!
One of the best performances of the 540 fugue I have found! Super registration. I always have preferred the toccata to be played at a medium very rhythmic tempo as is done here, with not too much variation in registration. This performance is good in that you can really discern all of the elements of the piece, especially the toccata. Many people play too fast, or with too powerful registration, and often overrun the reverberation in large spaces and just muddy up the toccata. My only suggestion would have been to move the stack of chairs from behind the consold for the video.
Hi Maria, can you please intervene in the speech between Geird and me? I appreciated your performance, but just noticed tgat I would have changed manual at bar 70. Geird seems to be very upset about that. You may check our conversation...
Bravissima Maria talento nei pedali. Da bambino ho suonato in organo del 600 nella chiesa Arcipretale di Noale Venezia ora questo organo barocco si trova nella chiesa di Rio San Martino di Scorzè (VENEZIA) Complimenti Maria!!!
I just came across this performance. Great! Another talent I became aware of only because of RU-vid. Thanks for sharing. I am looking forward to hearing additional concerts. Avanti!
Congratulations! I learned the fugue once but I could never master the toccata. You play it well, and simply, without some of the mannerisms that "top" performers feel they have to put in to show how clever they are. You let the music speak for itself, which it can do wonderfully. Thankyou.
A beautiful performance, takes me back to my senior recital 36 years ago when I opened with this. I always love to hear a great performance. You are a wonderful organist, Maria!
Maria plays very very well. No doubt. A matter in general is that many Bach-players always perform so 'straight ahead' according the law of the metronom. I am convinced that there is much more room for nuance in the movement.
Exactly. Consider that Bach was a genius (IQ thought to have been ~165 !). He would hardly ascribe to trite rules about the interpretation and performance of his creations.
Wonderful playing...so then...I do something else...just to hear the music...and not being concerned at all with who's playing, since you, Maria...have demonstrated such capability...such mastery thus far; that it is rather nice to hear a woman playing...nonetheless, that...whomever is playing...the thing that truly matters is the music...regardless of the performer...since it the consciousness of the individual which does the playing...Thank You!!...
Maria Budacova, I am sorry for my inadequate English. After reading some of the comments, I feel so sorry for you. Why don't you fight against the ignorance people? Tell them why you play the way you do, Maria! My guess - you make an attempt to restore this old music, and that's great! We need young organists like you! Unfortunately - some people still mention Helmut Walcha as a supervisor. But you know, and I believe that you are closer to the baroque style than Helmut Walcha ever was! BWV 540 was composed for 300 years ago, and even more? The context back then is almost impossible for people today to understand, especially among people without any musical education.
Walcha remains a reference, but nobody is supposed to play like him. References stand for inspiring, not copying. By the way, she's not that far away from Walcha (closer than Rübsam for sure ;) )
I prefer Helmut Walcha because he _sounds better_ . (Though Helmut "incorrectly" starts his trills on the lower note, I like it better.) If not authentic baroque style, that is fine with me. *I go by my ears, not authenticity.*
Great P;laying. Bring up the volume. It would be nice if you showed the interior, exterior and sanctuary of the church during your playing and the name and location of this church and the maker of the organ. thanks
I agree with the many positive comments. Period- and Bach-authentic ornamentation would add even more musical interest ( Putnam Aldrich's guidelines, for example).
Brilliant. The fluidity and balance but with flexibility and a slow fire in the background bowl me over! The problem with much allegedly baroque playing today is that in my opinion the player’s testosterone takes over and seizes (up?) on certain chords and phrases totally out of context. Either that or it becomes more rigid than the most pedantic mathematics lecturer could produce. We have never met, and I do not suppose we ever shall in this life, but for the wonderful experience you have given me, I love you my sister!
Thanks that the Fugue is here too. More than one clip on RU-vid are mislabeled as Toccata and Fugue in F dur but only the Toccata is played which is either dishonest or just lazy.
Ähm,ich hoffe du kannst einwenig Deutsch...wie lange hast du gebraucht,um dieses werk von Bach,so spielen zukönnen...?heisst wie viele wochen...oder Monate hast du daran geübt...??? Über eine Antwort diesbezüglich würde ich mich sehr freuen.LG.M.
Nice flow, while preserving a great individual interpretations. Bach didn't want his predecessors to be robots of him any more than he was of Buxtenhode.
i also enjoyed it , but as my predecessor said in the Toccata only oneRegistration is used. but very accuratly and precisely played! well done!! the Registration should have a starting Point and develope to the " grande finale" , which is so typical Bach:)
Weihs Reinhold, quote: "...Which is so typical Bach:)" Don't be so sure! Changes of stops was probably not a common practise in Bach's lifetime. I believe that Maria make an attempt to bring this old music closer to the original style, and she is welcome to do so, because they are not too many!
Maria Budacova, are you still there? You play the fugue without changing manual, please tell the listeners why! I have made a couple of attempts, but without success.
_"Unfortunately - some people still mention Helmut Walcha as a supervisor. But you know, and I believe that you are closer to the baroque style than Helmut Walcha ever was!"_ I prefer Helmut Walcha because he sounds better . (Though Helmut "incorrectly" starts his trills on the lower note, I like it better.) If not "authentic baroque style", that is fine with me. *I go by my ears, not authenticity.*
...Regarding the version of Mr. Carpenter, he does a tour de force, brilliant but not convincing. M. Budacova breaths JSB and develops. Mi piace moltissimo
We must wait to Regers symfonic fantasie fugue, Dupre, Alain before such big piece is written again, probably the profound idea of Widors Toccata, Gigoues, Durufles
Sorry, but the tempo is good, too many times it is played too fast, that is the problem ! The trumpet of the pedal a bit boring in the toccata. Mixtures missing in the fuga ? Or the organ does not sound very good ? On the whole, good performance, thank you !
9 лет назад
The mixture is not so dominant unfortunately. It's rieger kloss and some of the stops don't sound like they're supposed to and also It may be matter of the recording. Thank you!!
+Mária Budáčová I am honoured by your answer, I have liked your interpretation, may be the recording is not so good, but I think you deserve a better organ ! Best regards
The pedal trumpet is necessary for the pedal pedal line. In Baroque prelude and fugue formats, a pedal reed is pretty much a given if the organ has one.
The "reedy" registration in the fugue is a step towards common French practice (and apparently, Northern German too), which is to play dense counterpoint with reed registrations. More often than none, mixtures are not contributing to the perception of polyphony. The registration of the fugue seems quite adequate, IMHO.
Nice organ and interpretation, almost 0 mistakes. I just would have chosen lighter stops (or moved to Pos) in the central part of the fugue, where the pedal is absent. The 8' trumpet is pretty out of tune, though.
Dario Giorgiutti, I believe(and hope)that Maria make an attempt to bring the music closer to the original baroque style. We can't jump between manuals where we like, and absolutely not in a fugue.
@@geiryvindeskeland7208 It's not to "jump where we like", it's to be clever enough to read Bach's intentions between the notes. Or are you stating that people like Helmut Walcha, E. Power Biggs, M. C. Alain, etc. were not playing properly baroque music? Bach was not a paralitic, nor he has ever talked about "purism and philology", baroque organists used to play and use all the resources of the organs they had. In the middle section of this fugue, the pedal line is suspended and the music becomes somehow "thinner", that's where the positiv with it's lighter timber should be involved. Then the first theme comes back, not casually preceeding of sone bars the pedal. That's where the hauptwerk has to come back, first with the right hand, then with left. That's it. I'll record this toccata and fugue as soon as I get back my organ, and Laukhuff decides to answer my emails... 😫
Dario Giorgiutti, quote: "..it's to be clever enough to read Bach's intentions between the notes." Exactly! So tell me where to change manual in the fugue without amputate the parts?(voices) After you have answered me, I want to reply on the rest of your comment.
@@geiryvindeskeland7208 oh, come on! It's at bar 70!!! A lot of organists move to P there. It's logic! Then bar 109 RH on HW. And finally 118 both hands on HW (there you can add a labial 16' as well, and one reed on ped).
Dario, I know, many organists go to another manual at bar 70. But this is a fugue, a fugue is something else than a preludium, toccata etc. I don't know how to tell you, so I repeat myself: If you changes manual in a fugue, you amputate the voices. Bwv 552, printet edition 1739: Bach wrote forte and piano(different manuals)in the Preludium. But do you find any marks in the fugue? No, you don't, but organists still go from forte to piano also in the fugue. BWV 538, Dorian, a numbers of Hauptwerk/Oberwerk in the Toccata, but not a single mark in the fugue. Many organists don't understand the differents between a preludium/toccatas and a fugue.
Nice! 540 is a joyous uplifting work. Toccata is a little too slow. This sounds more like a practice exercise. Pedal sounds strange. Needs mixtures as do the manuals. Boring and fatiguing with the same registration throughout. (Must now go play this myself to erase what I heard.) Where are the fugue mordents? Why no pedal mordents and trills? Why are the pedal notes not connected? Oh, this is a recital? Perhaps that is why so conservatively played. Play this from memory, listen to what you are playing and you will do much better! Still nice!
***** Since my late teens, I play this from memory and perform all mordents and trills. At the appropriate places I switch between Hauptwerk and Oberwerk for welcome relief and contrast. Except for phrasing and articulation, I connect the pedal notes.
***** Wish I could. Others have borrowed my stereo cassette tapes and some of the tapes have gotted "chewed" in their cassette players. I sound much like Helmut Walcha.
***** Walcha is my favorite organist. I have always copied Helmut's breathing, articulation and phrasing. But some of his tempos are slightly slow. I also do the few trills he does not do.
***** Trills do not a great organist make. Otherwise you'd claim that Ton _"Cannot connect notes"_ Koopman is a great organist. Walcha cheats on the Wedge Fugue's "impossible" 3rd trill. He also ends that long trill in the Dorian Toccata, early. It's worth the thrill of playing it the wholength.
***** proclaims: _"YOU ARE MASTER OF TRILLS. NOBODY KNOWS SO MUCH ABOUT TRILLS."_ Incorrect. According to many, I do not even perform trills correctly. Often I start them on the note - as Helmut Walcha does. I merely continue the ormanents (note spelling) revealed at the beginning throughout thentire work. I do not allow difficulty to be a deterrence.
Technically, very well done. But you used pretty much the same registration all through the toccata. It has to start from somewhere & build up to go somewhere else. Listen to what I think is the best performance of this work by Helmut Walcha & you'll immediately understand what I'm talking about.
Helmut Walcha is only a supervisor amongs people without knowlegde. Its hard for many people in our days to discover that the progress was composed by Bach. I believe this young lady make an attempt to restore this old music, and that's great! We don't need any more Walcha, we need musicans that try to restore the old music.
She's not playing an organ as big, and with as wide a variety of stops, as Walcha did on his recordings. A recording of this I really like is by Ralph Downes on the Royal Festival Hall organ in the 1960s, which has a lot of registration changes once he gets into the C major variations on the opening canon. It's showy and beguiling to listen to, but you can only do that if you're playing a monster cathedral organ with five manuals and over 100 speaking stops. I suspect that the performance we see here is far more representative of how it would have sounded in a typical small town church in Bach's day, which makes it all the more valuable.
Bach didn't have stacks of combinations set up or various assistants to keep adding or subtracting stops. He let the music speak for itself. Excessive registration changes are - as in harpsichord performances - aberrations of the 50s and 60s. A good registration with clarity and projection beats any 'Blackpool Tower' performance any day. We want the melodic lines and not to be overcome with special effects.
I think he meant 1950s and 60s, when there was a trend for performing and recording Bach on what he calls "Blackpool Tower" monster organs of the sort that were built by people like Willis and Cavaille-Coll a century earlier. Helmut Walcha and Jeanne Demisseux are two who did this around that time, and then of course Virgil Fox, E. Power Biggs and Carlo Curley brought Bach to the masses that way. But Ian argues - and I agree with him - that this is probably inauthentic to the sound that Bach had in mind. In fact, the monster organ trend was fueled more by secular than church music (e.g. organ adaptations of orchestral works that were popular in the late c19/early c20), when they were installed in town halls, concert halls, and later movie theaters. Those monster organs are best used for the music they were designed for: Lizst, Guilmant and Reger sound perfect on them, but Bach very rarely does. That having been said, I have a 78 of Marcel Dupre playing BWV532 on the Alexandra Palace Organ (recorded in 1930), and he proves that an instrument on that scale does have something to offer Bach, if the vast registration choices are used carefully.
You might be surprised but they also have teachers at the University. And the teacher usually says the student what the tempo and other things should be. And if the student does not play the tempo the teacher says, they would not allow him/her to play at the anniversary concerto. (Btw. temp is a temporary file, I guess, isn't it? :-)))
Glad I listened to this, then read your comment. The tempo is fine, the performance is fine. The 540 as played here made me feel better; so many times, it seems to be sped up and the beauty of the work is not fully realized.
