There’s a whole new series of learning repertoire coming soon!

Really outstanding, thankyou for the suggestion

@@Monochr0meMan Thanks for letting me know. I appreciate it.

The CD has been shipped! I'm awaiting delivery by mid next week! It's a recording of jazzy pieces (with some well-known numbers) inspired by this channel!

@@FraserGartshore Thats fantastic . Thanks for letting me know. I live in Canada so really hope I will be able to buy one.

@@FraserGartshore I will give you my personal email wjjeffrey@gmail.com If you could let me know the price of the CD and shipping costs ,and I will forward that amount. Thank you

Song? Who's singing?

@@nightwishlover8913 you are!

@@Mitchellpilot909Well stated! Bach himself encouraged all students and performers ‘to acquire a cantabile style of playing’.

I also mentioned this in a previous Bach video - there was the inevitable shitstorm regarding pedal technique in baroque music - I have played organs all over the world including amazing original, untouched instruments from yesteryear - and yes, it is practically physically impossible to play with the heels. As for modern instruments - why play with restrictions? If Bach the innovator were alive today and could enjoy the world of registration sequencers, sostenuto, pizzicato, transposing couplers and so on, would he ignore all that technology? I somehow doubt it!

You need a Glenn Gould style bench, like his famous hand made chair with the seat like 1 foot above the floor. lol

Which begs the question, which came first - a need/desire to use the heels which made the keys longer, or the other way round? People were smaller in the past, and I assume that means their feet were in proportion, so you can throw that into the mix as well.

St. Mark's posts all its services on their youtube channel, they are well worth watching, good music and liturgy.

Merci!

It’s still on the list - we’re waiting for the “right” organ! 🇫🇷

@@FraserGartshore Thank you...all credit to your thoroughness!!

peter lewis thanks for asking that question Peter. I actually asked the same thing!

I was referring to his musical “balls”! Then again... He had a whole lotta kids! Makes sense!

@@FraserGartshore Great Balls of Fire. that's what you're talking about, aren't you?

Coming to a screen near you soon!

Now you're talking! I met Sidney Torch when he was an old-old man - we talked about Coates a lot - Sidney arranged a lot of his music in his own inimitable style. Wonderful music.

What a horrible thing to say! Nobody can be that bad!

Hah - not you as a person, obviously - but just to draw yr attention to some rather Baroque (?) hand & facial antics!

That’s the plan!

Hi Mark - yep, series continues soon! You’re right about the historical stuff - I’m doing simultaneous blog posts on my website on this one - too much info for a video alone. As for Fox - he didn’t care what people thought - he just went for it. The organ world could do with that kind of “fresh air” to keep it alive and kicking. Sadly there aren’t many fresh air aficionados out there - surprising really, as a lot of organ freaks tend to have their noses in the air most of the time! (Cue barrage of comments!)

Seems so pointless, doesn't it. It was however a thing. My organ Prof forced me to play Frescobaldi with four fingers on a poxy little portative organ. Naturally I rebelled by memorising Vierne and Widor and burning my Frescobaldi music. (Only part of that statement is true...)😂

@@FraserGartshore again, even more weird to enforce that today. Especially on organ where there's no preassure sensitivity in the keys :) Sounds the same no matter what fingers you're using, right? :D

We invented everything up there!😜

Too many notes for me! When I was younger I tried out a few of his crazy pieces on the piano - I gave up!😂

@@FraserGartshore That's kinda what I thought, romantic organ music can be insane...

See earlier videos - it's all explained!

They are literally another row of stops essentially. But the same stops. It works so that you can have 3 different stop combinations that you can change to quickly. You you can have 3 specific arrays of stops set very quickly instead of changing and faffing on with the pistons and all that jazz

The hauptwerk could have been a little louder I agree. The whole work is about the bass though

Where is this organ? Maybe some local organ builders reading this could help out!

@@FraserGartshore the organ is located in the North East of england. Gateshead (near Newacastle) to be precise. It's very old and most people would probably say beyond repair but I would appreciate any advice I get. Many thanks, Richard

@@richardjtaylor8545 If its of any help, I am in the North West and am an Organ builder. I'd be more than happy to arrange to have a look at the organ for you and see what we can do about the bellows. I've recently refurbished a set of bellows in another church in Scotland. Prices are usually based on the physical size of the reservoir so it would be best to check it out first. Let me know if you're interested! I'll eat my hat if its beyond repair!

@@AJKProduction08 I'll keep it in mind thank you so much. My grandma recently passed away and I've had many things going on so it would probably be a while before anyhting can be sorted but I really appreciate it. If it is any help now I would say the bellows are around 1.5 to 2 meters by 0.5 meters by 0.8 meters when fully extended if I had to hazard a guess. I will speak to the preist when I get a chance and will definitely get back to you Again thanks for the offer Richard

Frescobaldi 's music was conceived for italian organs of the day . Italian organs of these days were built like this : ONE keyboard(!) , most of the time no pedal board .( Frescobaldi was "lucky " enough in Rome , to have a 5 pedalboard. A 5 NOTES keyboard : Ut , re, no e, fa , sol , la . The pedalboard had no independant stops. Only Great to Pedal . Pedal board was so heavy to handle that when you push down a pedal key , you would keep it down for 2 , 3 , 4 measures or more . Stops for the keyboard were at most 10 in number , when lucky . It consist of a complete divided full organ register: principal 8 , principal 4 ' , 2 2/3 (quint ) principal 2' , principal 1' , 2/3,1/2,1/3, 1/4 pitches ( divided mixture), + flauto 8" and 4 ' and a stop called voce humana that is not a reed but a slightly untuned series of pipes, beginning on central C , acting as a celesta, giving a slight , smooth vibrato for the 8' or 4' flute or combination of both. As soon as you have a heavy texture below central c in left hand , this is a sign to play that section of the piece on a 4' pitch or even a 2' pitch , which does a marvelous effect for elevation, communion or dead times in a ceremony . Italian organ 's pipes were rather narrow in widht and never very powerful or agressive . In those days , the organ was never used to accompagny singing of the choir or the faithful in the nave , BUT was used to preceed the gregorian chant , to give the tone to the choir , or to follow the gregorian chant as a musical commentary of the liturgical text. ( Catholic church had statued that a pipe organ , a man made instrument , should not be mix with choir voices , creations of God. Ideology of the day ! ( Are ours better ?) The organ , often , was in the east point of the church, on the left side of the choir . Imagine how so narrow pipes with so few stops could sound in a nave like St Peter 's chapel ! Italian music is intimacy . ( Are you able of it ?) A piece was rarely played on the same stop or stops from beginning to end . A piece was not always played in full extent .Ritual was first and music had to fit in . Musical text was rarely strictly played as score shows. Embelishments were added . When a chord is given , every note belonging to this chord, or scales related to this chord can be played on that beat . etc... Frescobaldi is a late baroque musician . Go to Andrea Gabrieli to have fun with his music.You want make a hit in a concert with such music but it brings a lot of pleasure to an organ player . While playing , think about painters of the time ( Giotto etc...) , life in Venice ,Leonardo da Vinci , day life for the most common peoples etc....

Nicolas glad we went from talking about balls to some discussion about practice. I share many points in Your description about the differences in the organology, except the heft of the transmissions and the prohibition of accompaniment to voices. Of course F.’s music is rendered best on central and north Italian baroque instruments, with their round principal, low wind pressure and clear sounding principal. Although can be played with much pleasure on south Germans and even northern German baroque instruments. Of course you need the right perspective to correctly play Frescobaldi’s delicate rhythmic variations and with the correct registrations (see e.g. contemporary tratises like Diruta or Banchieri) More in general, It’s a bit sad to see how frescobaldi’s genius is treated tho. But again, i’m biased ;) And I share your admiration for the Gabrieli’s. Although I’d rather think to the double choir practice in San Marco or the contemporary treatises to play their music, rather than the Tuscans Giotto and Leonardo, which of course aren’t contemporaries of either Gabrieli’s. The early venetians Bellini and Carpaccio would be more appropriate and above all, Sansovino would be more appropriate choices in time and space. :) but these are just minutiae of a pedant. ;)