Thank you for the extended discussion on articulation in Bach's day compared to 100 years later. It seems that most organists in America and the UK are still operating under the default legato of pedagogues like Czerny, whose exercises I studied as a beginning pianist. I still use the fingering I learned from those days, but my approach to touch and articulation changed radically once I studied with a teacher who understood a more appropriate approach to playing Bach. When one develops an ear for it, 18th century music just "sounds better" with nuanced articulation and rhythm, in my opinion. Thanks again!
Interesting to hear your experiences. I think many of us have had to unlearn things that became automatic as young students (and that is equally true in Scandinavia and Germany as in America and the UK). Of course, Czerny has contributed positively to the development of later keyboard technique, but does get rather in the way when playing "early" music. I've looked up your series, by the way, and am enjoying it - thank you!
@@timrishton5871 Glad you are enjoying my Orgelbuchlein series! It was hard to find many of the chorale texts translated into modern English, so my attempts to bring them to life hopefully make it worth the listen.
Very interesting to get the comparison between the same thing in two different acoustics, thanks. The two are the same length to the second but sound really different. A useful experience. What was the tutor book for village organists by a Bach pupil-pupil?I can't find it.
Glad it's helpful! The tutor book was Karl Christian Kegel's Orgel-Schule of 1830, but I agree that it's incredibly difficult to track down a copy and I'm only quoting it here from secondary sources. If anyone knows where there is a copy, then please let me know!
Since my reply, I've found a copy, in the Peters Music Library in Leipzig: webopac.stadtbibliothek-leipzig.de/webOPACClient/singleHit.do?methodToCall=showHit&curPos=1&identifier=-1_FT_1534937912
