To think that I had music lessons by this guy when I was doing elementary school. Everyone thought he was a weirdo. Most didn't care about music lessons anyway. Let alone the organ. I guess most need to age a bit to appreciate it and admire its magnificence and glorious sounding. I grew up with the church so I always took it for granted and since I'm not exactly a partizan of religious institutions it always held some negative connotation for me. Now I can see it as separate from religious practices and doctrine and truly enjoy it. And let's be honest, without weirdo's we would still be in the stone age. A man needs unparalleled devotion and dedication to master such an instrument like he does.
Bwv564 was never on my attention, until I hear maestro Sietze’s performance. He has his own unique rendering of this work with all the articulation and ornaments, but they are perfectly logical to themself, I can only attribute this to his deep understanding of baroque music! What a fortune to witness such a virtuosity. Salute!
Perhaps my favorite thing about Sietze's playing is the grace and subtlety he brings to slow movements and ornamented chorale textures. The adagio of this recording is absolutely stunning... sublime and inspiring! Bravo Sietze!
I cannot imagine a better combination than Sietze de Vries playing this piece of art on the "green monster". It's simply perfect. I'm sure, Bach would have played it very similar. And for sure, he would have loved this organ. This sound is simply "wow", espacially when played by an artist like Sietze de Vries, who knows how to get the most out of it.
The audio is so "live"--it puts you in the middle of the church with all the swirls and eddies of sound, tonal overlap and long decays. It is magnificent.
My father sang in the choir of the Groninger Studenten Pastoraat which had their services in the Martinikerk and he liked it when I attended the Sunday Services hearing him and the choir singing. And I liked it too. I have heard Wim van Beek play this magnificent organ so many times and even though I was a teenager, I have always loved listening to the music played on the Martini-organ. I am (kinda) old now and this is one of the things I would love to do again. My father is still alive, but the choir doesn't exist anymore, Wim van Beek died in June 2017 and the whole setting from my youth will never happen again. But thankfully the Martini-organ is still there and will survive all of us!
Incomparable recording of this famous piece! Combination of the phenomenal performance by Sietze, the magnificent recording by Canere (both audio and video are at the highest level) and of course the Martini-organ.
I love the steady tempo, not too fast to allow all the voicing to sound properly and fill the space. Too many recordings/videos of this piece are ruined by going too fast, yet a toccata (most of them) interpretation can really show off the inherent musicality of the organist by the decisions they make to get through it because to me it seems impossible to notate the exact intension of a toccata, really. Also, love, love, love the ornamentation! I have a pro audio, powered speaker system with subwoofer with my computer when I listen on youtube, and I'm hearing the low notes quite well with lower frequency reverberation in this very clear recording, for what it's worth. A lot of low frequency is captured. Perhaps most peoples' computer audio systems are missing the lower registers and a subwoofer would help. BWV 564 is my favorite of the great Bach organ works. Always has been, I think, for the joyful whimsy in much of it. If I'm in a bad mood, the fugue always brightens my day.
What a gift from Mr. Sietze de Vries to the World! This rendition is stunning, I have never seen-heard such a beautiful pedal work which is very difficult, and Mr. de Vries did it wonderfully. I’m a fan of the several Dutch organs, each one is unique, alive, like a living creature, however I find that the organ at the Martinikerk to be my favorite, its sounds are so mature, clear, elegant. I’m the most common person, I’m not a musician at all, but really appreciate these wonderful videos. This organ has also a special meaning to me, my maternal grandfather was from Groningen who was christened at this very same church where he and his family attended. Greetings from Guatemala!
I love the registrations, particularly in the Adagio - I love that in the joyous fugue you keep pretty much the same registrations throughout and let the music and your phrasing speak.
Dit is een heel bijzonder orgel !!! Het is zuiver, diep en machtig in zijn klank. (zeggen ook veel musici ) en ik vind het het beste orgel in de werld !! De pedaal solo wekt bijna orgasmische gevoelens op, en het wordt bespeeld door een meester. Dat een nuchter volk als de Groningers zo een orgel voor zich hebben laten bouwen is een mysterie voor mij als Groninger. Sietze, je vertolking van Bach is indrukwekkend.
I love the crisp articulation you use in the adagio. It gives it a throbbing, rhythmic quality that really brings out the sorrowful affect. It just shows how cantabile doesn’t mean just superimposing lots of legato. I think it’s really quite a skill to retain the singing quality while bringing out the rhythmic vitality.
Vraiment superbe magnifique l’adagio accompagné de la profondeur et du velouté du prestant de 32 pieds et féerique merci à vous pour ce merveilleux moment
Wow, that organ and that piece must be responsible for converting many a disbeliever, heavenly! Me too almost! Just wish there was some illumination of the pedal parts.
Fantastisch, prachtig gespeeld, op een prachtig instrument. De audiokwaliteit is werkelijk subliem, de enorme diepte en ‘rumble’ van de 32 voets prestant is uitstekend waar te nemen met een hoogwaardige koptelefoon. Ik hoop het orgel binnenkort eens in het echt te kunnen beluisteren.
Bach heeft in zijn jeugd ongetwijfeld onderwijs gehad in de retorica. De volmaakte beheersing van de muzikale retorica is een van de kenmerken in Bachs muziek die hem tot een van de grootste, zo niet de grootste componist aller tijden maakt. Sietze de Vries is een vaardige en inspirerende 'naverteller' van het muzikale verhaal dat Bach in deze Toccata ons vertelt.
Spiegazione ed interpretazione magistrale, Maestro Ruggero. Di fughe Doriche ne ho ascoltate almeno una decina e questa è senz'altro una delle più ricche di sfumature espressive, per capire e carpire l'animo di Bach e di ciascun interprete. In questa le voci si distinguono sempre, si rincorrono e qui ogni nota frase è ben compresa, ha un suo contesto, una sua collocazione nella ritmica, nell'armonia e nello spazio. Bach ingegnere del suono, oltre che sublime compositore. Nulla è frutto del caso. Ogni volta l'abilità espressiva di questi grandi interpreti, esegeti, aggiunge qualcosa al divino che ci affanniamo a nascondere con cura nel nostro quotidiano. Se chi dovesse governare il mondo capisse il messaggio della musica e delle arti non sarebbe concepibile tanta grettezza ed egoismo. La vita è molto più bella se concentriamo la nostra attenzione sul nostro essere, piuttosto che sul nostro avere.
Fantastic. Bach would approve. The coda of the Adagio being full and forte is correct, not like so many organists who choose to play it pp, inexplicably.
Every organist (and pianist) should not leave this world without mastering the Grave section of the Adagio. It should be required study and performance.
Leuk om je de BWV 564 na vele jaren na je cd opname, weer eens te horen spelen. Wij zijn als ik me niet vergis van hetzelfde bouwjaar 1973. Jij nam hem op als broekie, ik beluisterde hem als broekie. Ik ben benieuwd of je net als toen voor de dezelfde registratie hebt gekozen in het middendeel. Met name het slot daarvan maakte toen indruk met de prachtige verzadigde prestantklank.
25 jaar geleden heb ik dit stuk ook in een kerk voor publiek gespeeld. Zo'n plezier om alle drie stukken te spelen. Die solo pedaal partij in de Toccata in het begin en dan de victorieuze twee accoorden waarna de melodie in herneemt, dan de emotionele adagio en tot slot de glorieuze fuga. Het geweldige in de overgangspassages in deze fuga is dat ze altijd naar iets toewerken (hoewel dat eigenlijk wel iets typisch Bach is maar hier overduidelijk).
Dopo aver evocato i maestri nordici nel primo movimento, Bach scende in Italia e precisamente a Venezia per immergersi nella melanconia lagunare per poi risvegliarsi con la chiara e trasparente stupefacente fuga conclusiva .
Die tongwerken hebben echt toon en ratelen niet! Ahrend is een echte kunstenaar. Zelf les gehad op een orgel van hem (Haarlem, Doopsgezinde Kerk). Dit stuk ken ik (zelf nooit geprobeerd) maar hier hoor je het als het ware opnieuw. Prima tempo, vooral niet te snel willen gaan.
Sietze de Vries, you are not the only one. There are many of you who believe that the pedal solo is music to be interpreted. The pedal solo is not music, but an etude for two feet, and should be played as quickly as possible whitout sounding like you are struggling. If Bach wanted a musical expression, why do we never find a pedal solo in his organ compositions from his adult life? The pedal solo is an element of «show off» and those who criticize «show off» are unfamiliar with human nature.
This is THE worst comment I've ever seen on a music video. Holy crap. ALL of Bach is glorious music. Every note. He never wrote anything solely for the sake of showing off. How dare you spew such insulting nonsense. The tempo of the pedal solo should be exactly the same as what precedes it. And you think BWV 564 is an EARLY work? Bach composed numerous works with extensive pedal solos. Many actually. What is wrong with you? Don't you know the repertoire before embarrassing yourself? Every note of the master should be treated as the great music it is. Furthermore, the pedal solo contains all the elements of the rest of the entire work. It's not a Czerny etude. So are Chopin Etudes not music either? Liszt? You don't need to know exactly why Bach wrote a pedal solo there, but it is most certainly not to "show off" like a circus act. Have you ever heard the Bach partitas for solo violin? How about the cello suites? The latter is almost entirely solo lines. When the tempo gets going, are we to assume the player must "show off" and that it is not necessary to play musically and expressively?
@organboi. I don’t know how to use a translate program on this computer, so I am sorry for my inadequate English. Bach was not a God, he was a human like everyone else. And he enjoy to show what was possible to play with two feet and ten fingers. Is there any pedal solo composed by others in his lifetime that match Bach’s own? I compose music in Baroque style, therefore I understand that Bach’s pedal solos is not music,, but sport. There are several types of melody lines in his compositions for violin solo and cello, that we never find in his pedal solos. And the reason is clear: They are all impossible to play in fast tempos. If his pedal solos was meant as music, he would played the music with his fingers, because it is technical much more easy. Several of Bach’s organ fugues shows the same - they are composed for fast speed. How do I know? Bach simplified the fugue subject in pedal in a number of his organ fugues. If not they would be almost impossible to play in fast pace. If Bach wanted slow speed, there wasn’t any need for him to simplified the fugue subjects in pedal. Organboi, notise those melody lines in the pedal, they are different from the melody lines we play with our fingers. In fhe pedal, he often wrote «steps» a pedal technique make it much more easy to play fast. BWV 541, 543, 547, 548, 549, 566 and 574, second subject are all examples of fugue subjects that are simplified in the pedal. When it comes to organ fugues BWV 532, 543 and 564, we discover something interesting: Bach did not composed the most beautiful melody line in the pedal, but a melody line that works to keep the complimentary rhythm all the way through the fugue subject. Bach knew that he needed to compose 16th in the second half of the fugue subject in the pedal, else the complimentary rhythm would die., something he couldn’t accept. Organboi, do you understand what I am talking about? No you don’t, because you don’t know anything, like too many others who also write comments. Chopin’s etudes is wonderful showing off-music, the same goes for the young F. Liszt. Organboi, when I know how to use a translate program on this computer, I will give you some knowledge, for like many others, you really need it!
Rude. See the pedalsolo of Buxtehude, Böhm, Bruhns, Lübeck, and many other North German Baroque composers, or any 19th century composer under the influence of Bach. Of course it's a very virtuosic piece, but it's not just virtuosic. You have to look at the piece harmonically and counterpoint-wise. Look at the notes on the downbeat. It shows a very good harmonic foundation in itself. Also, look at the echo part, he made the best music that could be shown on the organ at that time. And do you know the pedals of the organ at that time? It's very difficult to use the heels. Sorry, but ignorance is a sin. If you're a better composer than Bach, I'll think about it.😂
@@geiryvindeskeland7208 You don't know why Bach wrote that, okay? If you do, explain it to me, not your assertions, but the exact musical and historical.
@@sietzedevries6159 Niettemin lijkt mij toch dat het in principe niet toegestaan is fouten te maken in een live uitvoering voor een professioneel musicus. Daarvoor heb je toch gestudeerd, om foutloos te kunnen spelen? Wat als Janine Jansen regelmatig een D in plaats van een C zou spelen, of überhaupt slecht zou intoneren, ze zou afdalen naar een amateurorkest, toch?
@@JPGroen Het woord 'regelmatig' is in dezen cruciaal. Natuurlijk probeer je zonder fouten te spelen en terugkerende fouten en slechte intonatie zijn onacceptabel. Maar gestudeerd hebben om foutloos te spelen: dat lijkt me afschuwelijk. Janine Jansen boeit in de eerste plaats omdat ze geweldig muziek maakt, niet om dat ze foutloos speelt. Volgens de legende zei Beethoven dat hij fouten kon vergeven, maar zonder passie spelen niet. :-)
The small mistakes add to the charm of your performance. I keep going back to it. I simply adore the way you interpret the Adagio. I have not been able to read the rest of the replies, but I do hope no offense has been taken.
Ik vind het geweldig!!!! Tempo is subliem; Bach is grandioos; wat had deze man een gevoel voor muziek; voor de combinatie van noten, akkoorden en toonladders.
To think that I had music lessons by this guy when I was doing elementary school. Everyone thought he was a weirdo. Most didn't care about music lessons anyway. Let alone the organ. I guess most need to age a bit to appreciate it and admire its magnificence and glorious sounding. I grew up with the church so I always took it for granted and since I'm not exactly a partizan of religious institutions it always held some negative connotation for me. Now I can see it as separate from religious practices and doctrine and truly enjoy it. And let's be honest, without weirdo's we would still be in the stone age. A man needs unparalleled devotion and dedication to master such an instrument like he does.
Refreshing post! And without wierdos, nothing would be done differently / be questioned / get changed!
Bwv564 was never on my attention, until I hear maestro Sietze’s performance. He has his own unique rendering of this work with all the articulation and ornaments, but they are perfectly logical to themself, I can only attribute this to his deep understanding of baroque music! What a fortune to witness such a virtuosity. Salute!
Perhaps my favorite thing about Sietze's playing is the grace and subtlety he brings to slow movements and ornamented chorale textures. The adagio of this recording is absolutely stunning... sublime and inspiring! Bravo Sietze!
I cannot imagine a better combination than Sietze de Vries playing this piece of art on the "green monster". It's simply perfect. I'm sure, Bach would have played it very similar. And for sure, he would have loved this organ. This sound is simply "wow", espacially when played by an artist like Sietze de Vries, who knows how to get the most out of it.
The audio is so "live"--it puts you in the middle of the church with all the swirls and eddies of sound, tonal overlap and long decays. It is magnificent.
My father sang in the choir of the Groninger Studenten Pastoraat which had their services in the Martinikerk and he liked it when I attended the Sunday Services hearing him and the choir singing. And I liked it too. I have heard Wim van Beek play this magnificent organ so many times and even though I was a teenager, I have always loved listening to the music played on the Martini-organ. I am (kinda) old now and this is one of the things I would love to do again. My father is still alive, but the choir doesn't exist anymore, Wim van Beek died in June 2017 and the whole setting from my youth will never happen again. But thankfully the Martini-organ is still there and will survive all of us!
Dank de Heere God voor de rijke muzikale gave waarmee je Hem en ons dienen mag mag Hem de Glorie voor Bach en Jou SDG
Cette manière de jouer l'adagio le rend extraordinairement expressif. Comme si la voix de Bach parlait. Merci pour cette interprétation hors du temps.
Incomparable recording of this famous piece! Combination of the phenomenal performance by Sietze, the magnificent recording by Canere (both audio and video are at the highest level) and of course the Martini-organ.
I love the steady tempo, not too fast to allow all the voicing to sound properly and fill the space. Too many recordings/videos of this piece are ruined by going too fast, yet a toccata (most of them) interpretation can really show off the inherent musicality of the organist by the decisions they make to get through it because to me it seems impossible to notate the exact intension of a toccata, really. Also, love, love, love the ornamentation!
I have a pro audio, powered speaker system with subwoofer with my computer when I listen on youtube, and I'm hearing the low notes quite well with lower frequency reverberation in this very clear recording, for what it's worth. A lot of low frequency is captured. Perhaps most peoples' computer audio systems are missing the lower registers and a subwoofer would help.
BWV 564 is my favorite of the great Bach organ works. Always has been, I think, for the joyful whimsy in much of it. If I'm in a bad mood, the fugue always brightens my day.
Arp Schnitger, Jurgen Ahrend and Sietze de Vries! What a wonderful combination.
You nail it!
What a gift from Mr. Sietze de Vries to the World! This rendition is stunning, I have never seen-heard such a beautiful pedal work which is very difficult, and Mr. de Vries did it wonderfully. I’m a fan of the several Dutch organs, each one is unique, alive, like a living creature, however I find that the organ at the Martinikerk to be my favorite, its sounds are so mature, clear, elegant. I’m the most common person, I’m not a musician at all, but really appreciate these wonderful videos. This organ has also a special meaning to me, my maternal grandfather was from Groningen who was christened at this very same church where he and his family attended. Greetings from Guatemala!
Now, this IS an organ. In the fullest sense of the word!
Toccata: 00:01
Adagio: 06:39
Fugue: 11:28
Excellent composer, Excellent organ player, Excellent organ, Excellent acoustic of the church (I like deep bass and long reverb)
Absolutely fantastic. Congratulations Sietze!
He is aKing on the Queen
0:02 Toccata
6:38 Adagio
11:28 Fugue
I love the registrations, particularly in the Adagio - I love that in the joyous fugue you keep pretty much the same registrations throughout and let the music and your phrasing speak.
On ne lasse jamais en écoutant du Bach, même la 100ème fois. Magnifique instrument, grand interprète. Merci -:)
The adagio rips it's so good
Dit is een heel bijzonder orgel !!! Het is zuiver, diep en machtig in zijn klank. (zeggen ook veel musici ) en ik vind het het beste orgel in de werld !! De pedaal solo wekt bijna orgasmische gevoelens op, en het wordt bespeeld door een meester.
Dat een nuchter volk als de Groningers zo een orgel voor zich hebben laten bouwen is een mysterie voor mij als Groninger. Sietze, je vertolking van Bach is indrukwekkend.
The depth of solemnity and emotion of Bach‘s music Ìs immeasurable, and off the charts
What splendid playing. I love the tempi and rhythmic drive. Really exemplary.
I love the crisp articulation you use in the adagio. It gives it a throbbing, rhythmic quality that really brings out the sorrowful affect. It just shows how cantabile doesn’t mean just superimposing lots of legato. I think it’s really quite a skill to retain the singing quality while bringing out the rhythmic vitality.
Absolutely sensational.
Dank voor deze indrukwekkende vertolking van dit meesterwerk.
Vraiment superbe magnifique l’adagio accompagné de la profondeur et du velouté du prestant de 32 pieds et féerique merci à vous pour ce merveilleux moment
What a magnificent performance!
Mooi de macht te hebben op zo'n mooi orgel.
Just excellent ❤ Please continue your contributions to the world ❤ You are making so much difference in our world👍
Great. Got to hear him play a longer piece on his "green monster", and Bach too. From Chicago, U.S.A.
Suonata DIVINAMENTE, mi ricorda molto il modo di esecuzione del Grande compianto Karl Richter.
Davvero SUPERLATIVO
fabulous instrument well played, gorgeous, many thanks
A fantastische compositie von Herr Bach! Inspirerend gespeeld!
Wow, that organ and that piece must be responsible for converting many a disbeliever, heavenly! Me too almost! Just wish there was some illumination of the pedal parts.
hervorragend gespielt. Chapeau.
Éste Órgano tiene un sonido precioso!...gracias. Felicitaciones es una grabación hermosísima.
Fantastisch, prachtig gespeeld, op een prachtig instrument. De audiokwaliteit is werkelijk subliem, de enorme diepte en ‘rumble’ van de 32 voets prestant is uitstekend waar te nemen met een hoogwaardige koptelefoon. Ik hoop het orgel binnenkort eens in het echt te kunnen beluisteren.
Dios!, que sonidos tan hermoso y celestiales, no hay comparación con nada ,gracias.
Sehr gut gepielt mit gutem Rhythmus und ebenso Registrierung! Kleinste Verzierungen, Verzögerungen ganz wunderbar.Danke!
Dies sei ergänzt durch den Hinweis, daß es sich bei der Hauptorgel der Martinikerk Groningen um ein ganz außergewöhnliches Instrument handelt.
In der Tat eine besondere Orgel
Bach heeft in zijn jeugd ongetwijfeld onderwijs gehad in de retorica. De volmaakte beheersing van de muzikale retorica is een van de kenmerken in Bachs muziek die hem tot een van de grootste, zo niet de grootste componist aller tijden maakt. Sietze de Vries is een vaardige en inspirerende 'naverteller' van het muzikale verhaal dat Bach in deze Toccata ons vertelt.
Spiegazione ed interpretazione magistrale, Maestro Ruggero. Di fughe Doriche ne ho ascoltate almeno una decina e questa è senz'altro una delle più ricche di sfumature espressive, per capire e carpire l'animo di Bach e di ciascun interprete.
In questa le voci si distinguono sempre, si rincorrono e qui ogni nota frase è ben compresa, ha un suo contesto, una sua collocazione nella ritmica, nell'armonia e nello spazio. Bach ingegnere del suono, oltre che sublime compositore. Nulla è frutto del caso.
Ogni volta l'abilità espressiva di questi grandi interpreti, esegeti, aggiunge qualcosa al divino che ci affanniamo a nascondere con cura nel nostro quotidiano.
Se chi dovesse governare il mondo capisse il messaggio della musica e delle arti non sarebbe concepibile tanta grettezza ed egoismo.
La vita è molto più bella se concentriamo la nostra attenzione sul nostro essere, piuttosto che sul nostro avere.
Prachtig Sietze, een heerlijke swung/puls in het hele werk!
Einfach nur schön diese super Darbietung 😊
¡¡¡Bravisimo maestro
..muchas gracias por tan grandiosa musica en tan grandioso organo!!!
Fantastic. Bach would approve. The coda of the Adagio being full and forte is correct, not like so many organists who choose to play it pp, inexplicably.
Absolutely stunning! Bravissimo!
I’ve heard this played live and it sent shivers through my spine. Amazing work
You might like Wilfried Schnetzler's performance of this. That's my favourite. Yes, an amazing work, as is the Dorian.
Every organist (and pianist) should not leave this world without mastering the Grave section of the Adagio. It should be required study and performance.
Fantastic!
Volmaakte perfectie. Dit geweldige drieluik staat als een huis.
I think the best performance of BWV 564m with Koopmann...ance with the organs!
I agree wholeheartedly!❤😊
Great playing! Majestic organ sound!
stupenda esecuzione bravissimo complimenti
Utterly magnificent! Thank you!
정말 멋진 연주 고맙습니다😍👍👏
Beautiful!
Leuk om je de BWV 564 na vele jaren na je cd opname, weer eens te horen spelen. Wij zijn als ik me niet vergis van hetzelfde bouwjaar 1973. Jij nam hem op als broekie, ik beluisterde hem als broekie. Ik ben benieuwd of je net als toen voor de dezelfde registratie hebt gekozen in het middendeel. Met name het slot daarvan maakte toen indruk met de prachtige verzadigde prestantklank.
Astonishing ! Congrats Sietze :)
Damien
25 jaar geleden heb ik dit stuk ook in een kerk voor publiek gespeeld. Zo'n plezier om alle drie stukken te spelen. Die solo pedaal partij in de Toccata in het begin en dan de victorieuze twee accoorden waarna de melodie in herneemt, dan de emotionele adagio en tot slot de glorieuze fuga. Het geweldige in de overgangspassages in deze fuga is dat ze altijd naar iets toewerken (hoewel dat eigenlijk wel iets typisch Bach is maar hier overduidelijk).
Totally magnificent!
Magistral!!!!!
Super!
MARAVILLOSO!
Dopo aver evocato i maestri nordici nel primo movimento, Bach scende in Italia e precisamente a Venezia per immergersi nella melanconia lagunare per poi risvegliarsi con la chiara e trasparente stupefacente fuga conclusiva .
Eccezionale!!!!!
Heerlijke uitvoering. Top!
Geweldig!
Bravo!!!!!....
Bach se emocionaría! 🌹🌹🌹
Божественная музыка органная 😎 😍 😃 😄
Bravo!...maravilloso.
Bravo!
"Sodeknetter, kouwe jatten" -SdV
:-)
Maravilloso
chapeau!
Die tongwerken hebben echt toon en ratelen niet! Ahrend is een echte kunstenaar. Zelf les gehad op een orgel van hem (Haarlem, Doopsgezinde Kerk). Dit stuk ken ik (zelf nooit geprobeerd) maar hier hoor je het als het ware opnieuw. Prima tempo, vooral niet te snel willen gaan.
One of my favourites pieces from Bach. Wonderful performance ! Thank you.
Thank you ! 😃
Fun!
Excellent
Kun naar blijve kijken en luisteren.
Weergaloos
't kon minder ( op zien Grunnens)
nee..niet
@@luciedevries4583 in het Gronings betekent dat het grootste compliment
Well played. The organ has a great middle and top but leaves much to be desired in the pedal for my taste especially in the first movement.
If I were you I would buy better headphones or speakers so you can fully enjoy the 32 foot sound in the pedal.
You need new hearing aids.
First comment! - Nice !
'Niet slecht' (dit om te voorkomen dat VdS helemaal buiten zijn schoenen gaat lopen)
Wat is VdS
@@renedeheer4303 Iets met op z'n achterste vorens??? :)
Sietze de Vries, you are not the only one. There are many of you who believe that the pedal solo is music to be interpreted. The pedal solo is not music, but an etude for two feet, and should be played as quickly as possible whitout sounding like you are struggling. If Bach wanted a musical expression, why do we never find a pedal solo in his organ compositions from his adult life? The pedal solo is an element of «show off» and those who criticize «show off» are unfamiliar with human nature.
This is THE worst comment I've ever seen on a music video. Holy crap. ALL of Bach is glorious music. Every note. He never wrote anything solely for the sake of showing off. How dare you spew such insulting nonsense. The tempo of the pedal solo should be exactly the same as what precedes it. And you think BWV 564 is an EARLY work? Bach composed numerous works with extensive pedal solos. Many actually. What is wrong with you? Don't you know the repertoire before embarrassing yourself? Every note of the master should be treated as the great music it is. Furthermore, the pedal solo contains all the elements of the rest of the entire work. It's not a Czerny etude. So are Chopin Etudes not music either? Liszt? You don't need to know exactly why Bach wrote a pedal solo there, but it is most certainly not to "show off" like a circus act. Have you ever heard the Bach partitas for solo violin? How about the cello suites? The latter is almost entirely solo lines. When the tempo gets going, are we to assume the player must "show off" and that it is not necessary to play musically and expressively?
@organboi. I don’t know how to use a translate program on this computer, so I am sorry for my inadequate English. Bach was not a God, he was a human like everyone else. And he enjoy to show what was possible to play with two feet and ten fingers. Is there any pedal solo composed by others in his lifetime that match Bach’s own? I compose music in Baroque style, therefore I understand that Bach’s pedal solos is not music,, but sport. There are several types of melody lines in his compositions for violin solo and cello, that we never find in his pedal solos. And the reason is clear: They are all impossible to play in fast tempos. If his pedal solos was meant as music, he would played the music with his fingers, because it is technical much more easy. Several of Bach’s organ fugues shows the same - they are composed for fast speed. How do I know? Bach simplified the fugue subject in pedal in a number of his organ fugues. If not they would be almost impossible to play in fast pace. If Bach wanted slow speed, there wasn’t any need for him to simplified the fugue subjects in pedal. Organboi, notise those melody lines in the pedal, they are different from the melody lines we play with our fingers. In fhe pedal, he often wrote «steps» a pedal technique make it much more easy to play fast. BWV 541, 543, 547, 548, 549, 566 and 574, second subject are all examples of fugue subjects that are simplified in the pedal. When it comes to organ fugues BWV 532, 543 and 564, we discover something interesting: Bach did not composed the most beautiful melody line in the pedal, but a melody line that works to keep the complimentary rhythm all the way through the fugue subject. Bach knew that he needed to compose 16th in the second half of the fugue subject in the pedal, else the complimentary rhythm would die., something he couldn’t accept. Organboi, do you understand what I am talking about? No you don’t, because you don’t know anything, like too many others who also write comments.
Chopin’s etudes is wonderful showing off-music, the same goes for the young F. Liszt.
Organboi, when I know how to use a translate program on this computer, I will give you some knowledge, for like many others, you really need it!
Rude. See the pedalsolo of Buxtehude, Böhm, Bruhns, Lübeck, and many other North German Baroque composers, or any 19th century composer under the influence of Bach. Of course it's a very virtuosic piece, but it's not just virtuosic. You have to look at the piece harmonically and counterpoint-wise. Look at the notes on the downbeat.
It shows a very good harmonic foundation in itself.
Also, look at the echo part, he made the best music that could be shown on the organ at that time. And do you know the pedals of the organ at that time? It's very difficult to use the heels. Sorry, but ignorance is a sin.
If you're a better composer than Bach, I'll think about it.😂
@OrgelTW. interesting. How can you call me ignorance after reading my comment?
@@geiryvindeskeland7208 You don't know why Bach wrote that, okay?
If you do, explain it to me, not your assertions, but the exact musical and historical.
Aren’t there small mistakes like at 4'49?
(I'm no organ specialist)
Great artist though.
Is it not allowed to make small mistakes in a live performance?
@@sietzedevries6159 De vraag was er volgens mij één naar feiten, niet naar een eventuele normoverschrijding.
@@sietzedevries6159 Niettemin lijkt mij toch dat het in principe niet toegestaan is fouten te maken in een live uitvoering voor een professioneel musicus. Daarvoor heb je toch gestudeerd, om foutloos te kunnen spelen? Wat als Janine Jansen regelmatig een D in plaats van een C zou spelen, of überhaupt slecht zou intoneren, ze zou afdalen naar een amateurorkest, toch?
@@JPGroen Het woord 'regelmatig' is in dezen cruciaal. Natuurlijk probeer je zonder fouten te spelen en terugkerende fouten en slechte intonatie zijn onacceptabel. Maar gestudeerd hebben om foutloos te spelen: dat lijkt me afschuwelijk. Janine Jansen boeit in de eerste plaats omdat ze geweldig muziek maakt, niet om dat ze foutloos speelt. Volgens de legende zei Beethoven dat hij fouten kon vergeven, maar zonder passie spelen niet. :-)
The small mistakes add to the charm of your performance. I keep going back to it. I simply adore the way you interpret the Adagio.
I have not been able to read the rest of the replies, but I do hope no offense has been taken.
Ik vind het geweldig!!!! Tempo is subliem; Bach is grandioos; wat had deze man een gevoel voor muziek; voor de combinatie van noten, akkoorden en toonladders.
0:00 Toccata
6:38 Adagio
11:28 Fugue