Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 185, of #AskVidasAndAusra Podcast. This question was sent by Leon. And he writes: Dear Vidas: I have a ways to go before I am ready for BWV 531 by Bach, let alone Franck’s Finale. Thanks to one of your recent podcasts I have added the "Applicatio" to my Dupré chorale time each day. I had already changed his heel-&-toe pedals to toes only. When the "Applicatio" is comfortable, I will change the fingerings. My skills are generally improving, but I had still been resisting putting in 4 hours a day. From a recent discussion with my brother, I was reminded that I could have done more back in high school if I had followed our then teacher's advice to practice 4 hours a day. Writing up new practice schedule now. Thanks! Blessings, Leon V: Ausra; do you regret of not playing for four hours a day when you were first studying playing the organ? Or maybe you did play four hours a day. A: Not every day, but sometimes, yes, I would play four hours a day. V: How did you feel afterwards? A: Well, I felt good, but of course, I didn’t have the possibility, you know, to play and to practice every day for four hours on the organ, because I did not have an access to the instrument. V: What is the average time you would suggest people might practice every day, depending on their schedule, health, condition, and availability of the instrument? A: Well, you know I think that the best way to practice for two hours. But one hour is already good, so everything depends on the, you know, your, your way of life, and you know. V: And your goals. A: Yes, and your goals. V: It’s hard to tell precisely for everyone, but probably for the most efficient way of practicing I’ve found is depending on your own plans and goals, that you could play at least three times, you know, each fragment or each piece, you would have enough time. For example, if I’m practicing really slowly and I’m playing, let’s say, five pieces at the moment, and if those five pieces take about, about maybe half an hour to play, so I would maybe practice ninety minutes, you know, with some breaks in between maybe in order to be able to repeat everything three times, at least three times. How does it sound for you, Ausra? A: Yes, it sounds perfectly fine. V: And um, what would be the incorrect way of practicing, scheduling for practice? Too much or too less time? A: Both these, you know, ways would be wrong. You know, you need all this to practice as much as you know, your head can still guide you. Because the mind, you know, what you’re thinking is the most important. Because, you know, if you just play, you know, to break up some records, you know, or to make some records, oh, today, practice for six hours straight. That’s wrong way you know, of practicing. V: What happens tomorrow, right? You’re exhausted. A: Yes, I know, and plus, you know if you practice too much it means that you just are doing mechanical work without much thinking, and it’s never good. V: Mmm, hmm. So, two hours is probably optimum time. A: Yes, I would say so. V: So in my case, for example, if I can play a few of my pieces three times right, or more, maybe five times, so I might play a little bit more than two hours. But then I am careful and take breaks, frequent breaks, drink a glass of water in between, have a walk, stretch, things like that, to refresh my mind. A: Yes. I wish I would have time for to practice everyday for two hours. V: Would you practice if you had? A: Yes, I would. V: How much time would you practice if you had all the time in the world. A: I think I would practice more than two hours. Three maybe. V: Three! That’s a lot. A: Yes. V: You can do a lot of things in three hours. A: Well, you know, every day I spend a lot of time at the keyboard, but unfortunately instead of practicing what I need to practice for my organ things, I just play, you know, the pieces for my students at school. V: Could you divide the dictations based on your pieces? A: Probably not. V: Like I do sometimes? A: No. I don’t think administration would be happy about it. V: (Laughs). I know what you mean. Um, sometimes I choose segments or, or, or even variations from my, you know, pieces that I’m playing right now at the moment, and especially if I haven’t practiced that day, that I’m teaching, and I say “oh guys, now there will be dictation, in two parts. Right hand in the treble clef and the bass clef will be played by the left hand”. Let’s say we’ll have like twenty measures, not eight measures, but long dictation, and I would play for them like ten times or twenty times. A: And, are they will to write it down? V: Oh, that’s a good question. Something like the soprano voice, yes. But when it comes to the bass clef they generally are lost. A: Because you know, when I’m giving them like Christmas dictation, based on Christmas carols, some of them that we know well, some of them they can write down, but if it’s a little bit more sophisticated then that’s all. They cannot, you know finish it. V: Why do you think the second voice is so difficult to hear for them? A: Well, um, for those who play just a melodic instrument like flute or violin, I think they are not used to hearing the bass line. Or like piano measures you know, choir conducting measures, that’s an easier way to write the bass. Or for someone who plays cello or trombone. V: But even people who play cello they cannot really think in two parts, they just hear one voice. A: Well you know for kids, it’s often the case that they can write down what they can sing, I mean what is in their voice range, in their diapason, so, and usually because kids have high voice and they can sing in the first and then second octave but not so much you know, in the lower octave, in the bass range, so, and because the second voice in those low octaves. V: Do you think that some of our organ students around the globe are writing dictations too, based on their organ works, let’s say? A: I don’t know. And honestly, the longer I live, the less I think, you know, that writing down dictations improves you hearing so much. V: Why? A: I think there are better ways how to improve your hearing and your pitch. V: Oh, you know a secret. Tell us. A: Well I think actually that singing what you are playing improves it a lot and playing organ improves it a lot. Because let’s say for example, pianist plays a Bach’s fugue on the piano and you know, let’s say three voices, three parts with fugue, so, you know the theme comes and he can play it louder, and you know other voice not so loud. And when another you know, theme comes in and he can also to play it forte, or you know louder in other voices. But in the organ we don’t have that possibility. For example you playing the fugue by Bach and you play it organo pleno. How can you make one voice sound louder than another voice? V: Then you need to hear it. A: Yes, you need to hear it of course,,, V: Listen to it. A: Of course, you need to articulate it but definitely need to hear it, and how can you hear it if all voices, all four voices, sound, you know, loud. Equally loud. V: Would singing each part help? A: Yes. It helps a lot. V: Mmm, hmm. A: I’m convinced of it. V: So, guys, whenever you have some quality time at the organ, consider singing some of the inner parts, especially. And not playing not necessarily all other parts, but just let’s say, one additional voice, like in two parts, combinations. Or just maybe, for starters, just a single line, right? Especially if you know the melody well, you should be able to repeat it with your voice. A: Yes, and I’m convinced that if you can sing all the voices you can play them too. V: Mmm, hmm. That’s a good advice. I think that we are singing not enough in this age and day. A: Well, that’s because we have, you know, iPods and MP3 things and smart phones and all that our day of technique. V: Which sings for us. A: Yes, and plays for us too. V: Mmm, hmm. Back in Bach’s day, probably they didn’t have any other options to entertain themselves but to sing and play. A: That’s right. Even not as far back, even when my parents were young for example. They would go dancing each weekend, and they did not have recordings you know, and they spent time in the villages so they had to play themselves. V: And making music together with other members of the family or your friends, it’s so rewarding. It strengthens probably your connection with those people. Like you become closer basically. A: That’s true. V: Would you, Ausra, recommend, our students make music together with their family members, let’s say? A: That’s a lot of fun if you have opportunity you know, if you have family members that can sing or you know, play an instrument, you definitely have to make music together. V: Like we do on the organ bench. We sit and we play together with four hands. Is it fun for you, or, or you feel some pressure? A: Well yes, it’s fun. V: You don’t feel like pressure, from me, or I don’t feel pressure from you. A: I don’t feel pressure from you. I don’t know about you, maybe you feel pressure, pressure from me. V: Stupid question. I know. A: I enjoy playing together. V: So why don’t we now go and practice together,,, A: Yes. V: Organ duets. V: And you guys do the same, right? If you find a friend on the street, grab him or her and bring them to church or whatever, and practice some Bach. Thanks guys, this was Vidas. A: And Ausra. V: And remember to send us your questions. We love to helping you grow. And don’t forget to practice. Because when you practice… A: Miracles happen!
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 184 of #AskVidasAndAusra podcast. Today’s question was sent by Tony. And he writes: Dear Vidas, Thanks for your very helpful guidance on organ playing. I've played for 55 years, and am still learning! Perhaps some of your web-followers might appreciate a list of Bach chorale preludes suitable for Holy Week? I'd be very grateful for this, as they seem to be scattered over many books and collections. With much appreciation, Tony I think, Ausra, this is a great question to discuss Orgelbüchlein Chorales, don’t you think? A: Yes, because Orgelbüchlein has quite a few that suit us for Holy Week. V: For example, “O Lamm Gottes, unschuldig”--we’re looking at the score right now, and it says it’s a canon, right? A: Yes. V: Where is the canon, do you know? A: Well, you can see it right away. It starts in the LH, and then goes to the RH. V: The canon...What about--where is the cantus firmus, here? A: It’s in the bass. V: In the bass. A: In the pedal. V: And in the alto. A: Yes. V: But the interval between the bass and the alto is not an octave, but a fifth. A: It’s a fifth. V: So it’s a canon of the fifth. A: But also, you can see that the same--actually, the accompaniment that starts right away in the LH is repeated then a half measure later in the RH. V: Right. A: So you not only have a canon between cantus firmus, but you have it in 2 other voices, as well. V: Mhmm. How would you register it? Reed, probably, in the pedals, or not? A: Well, yes, something more audible. You need to hear the bass. V: But… A: But also, you know… V: Which descends lower--the LH or the pedals, here? A: Hmm, it depends on how you’re registering. If you’re registering pedal with a 16’, then the bass goes lower. V: I mean, which voice has the bass? LH, or the pedals, here? A: LH. V: Does it mean that the pedal part should not have a 16’ stop here? A: Yes, I think so. I think it should be based on an 8’ stop. V: And then probably the rest of the voices can be played on a single manual, right? Or not? A: Probably, yes. V: Because look--the span between the hands is sometimes too big for one hand, right? A: That’s right, yes; you have to help sometimes, to play some music from the treble clef from your LH. V: Mhmm. The next chorale, “Christe, du Lamm Gottes”--is it also suitable for Holy Week, or not? A: Yes, I think so, because you know, “Lamb of God”--definitely I think it’s sort of a little bit similar in his meaning with the first one. V: Mhmm. And if I’m counting voices correctly, here are 5 voices, now. A: Yes. V: And the canon is at the 15--basically, an octave plus a fifth. Where is this canon? I have to find it...Oh, between the soprano, right, and the tenor in the LH. A: Yes. V: Right? A: But then it starts in the bass, too. V: And then, probably, you need 2 manuals for that, right? A: Yes, I think so, yes--definitely. V: Mhm. But 2 voices would be played on each manual, so basically, not necessarily a reed--not necessarily a solo registration, but kind of a combination of stops. A: I think this chorale might sound good on the soft stops. Because look at all the descending melodies--all the time going down. V: Mhm. A: So you probably wouldn’t want to add mixtures or something--louder reeds, for this chorale. V: And you’re right--pedals could have 16’ stop, right? A: Yes, yes. V: Because it’s not a solo stop. A: That’s right. V: In the tenor range. It’s real bass. Maybe--how about 8’ and 4’ flute combinations in each hand? A: I think that’s what I do. And 16’ and 8’ in the pedal. V: Mhm. The next chorale is also a canon--“Christus, der uns selig macht.” A: Yes. V: Between the soprano and bass, right? A: That’s right. V: Do you think that it could be played louder? A: Could be, although we are talking about Holy Week, so I would not suggest to play very loudly during Holy Week. V: Mm, I see. A: What about you? What do you think? V: Depends on your congregation--how conservative it is. Right? A: But I think all that waiting, you know, for the drama that happens on Good Friday... V: Mhm. A: Or...Good Friday--what is it called in English? V: Good Friday. A: Good Friday, yes. V: The next is “Da Jesus an dem Kreuze stund.” That’s definitely the chorale suitable for Holy Week. A: Yes, because it means, you know, “When Christ was on the cross.” V: Mhm. And the texture here is very simple, right? Soprano has the cantus firmus, and the rest of the voices have figurations and imitate each other. Am I right? A: Yes, that’s right, yes. V: Would you play it on one manual, or on two manuals? A: I would play it on one manual. What about you? V: On one manual, because, let’s say, in the sixth measure, between the alto and the tenor, you have intervals of more than an octave. So there’s no way you could play it on one manual--the 2 inner voices. So therefore, you need all 3 parts together on one manual, and sometimes playing alto in the LH, sometimes in the RH. A: Yes, that’s right. V: Most of the time in the RH. Mhm. And now we come to the most famous chorale from the Orgelbüchlein suitable for Holy Week: “O Mensch, bewein dein Sünde groß.” And this is an extremely slow tempo, right Ausra? A: Well, yes--yes and no. It’s a slow tempo, but it doesn’t feel like so slow, because it has that ornamented cantus firmus in the soprano, which has many ornaments and 32nd notes. So sort of despite the Adagio assai tempo, which is really so...it still...the music still flows. V: Mhm. It’s in a beautiful E♭ Major key. And for that, you probably need some solo registration in the RH. A: Oh, yes, definitely, you have to have it. V: What kind of options do we have here? A: Well, you could have some sort of reed… V: Mhm. A: It would be one of the options. Also you could use a cornet. V: Maybe principal. A: Yes, maybe principal too. It depends what you will put in the accompaniment, LH, and the pedals. V: Mhm. A: And of course, you know, you need to find out which stop is the nicest on the organ, too. V: Mhm. To have a singing quality. A: Yes. V: Don’t forget to play adagissimo at the end--to slow down extremely. A: Yes. At that last cadence. V: Mhm. And the last choice from Orgelbüchlein for Lent and probably for Holy Week would probably be, “Wir danken dir, Herr Jesu Christ, dass du für uns gestorben bist.” What does it mean? A: “We thank you, Lord Jesus Christ, that you have died for us.” V: Uh-huh. It’s a little bit joyful, right? This texture, and faster tempo, I see. A: It feels like in this chorale, you already have that feeling of what will soon happen, you know--that the Resurrection will happen soon. V: Mhm. Excellent. And it also has 4 voices--3 lower parts imitate each other, and the cantus firmus is in the soprano. A: That’s right. V: So guys, that will be a great place to start, right Ausra? A: Yes. V: It’s not terribly difficult; some of them are, but doable. Of course, it depends on your level of advancement. A: Yes. I’m just wondering why Bach wrote so many of those Holy Week chorales based on canon technique. Don’t you find that it’s odd?. Maybe he was exploring canon technique at that time? V: Yeah, he was probably creating this collection as a compendium of all possible techniques and textures suitable for chorale development. A: That’s right. V: And then later he stopped, because, as we think--or, not only we, but common scholarship--thinks that he got carried away with larger projects. A: Yes, that’s true. V: Okay! Thank you so much, guys, for listening. We hope you can apply our advice in your practice. Please send us more of your questions; we love helping you grow. This was Vidas! A: And Ausra. V: And remember, when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 183 of Ask Vidas and Ausra podcast. Today is a beautiful Wednesday, right Ausra? A: Yeah. V: Do you feel that Spring is coming in Vilnius, to Vilnius? A: Well, not yet but from tomorrow I think Winter will join us again. V: Do you, are you fed up with Winter? A: Yes. V: Me too. I somehow long for more green colors. A: Yes and no. The snow is getting awful. V: So guys I hope you have enough green in your part of the world right now and that you feel the Spring returning. Of course, if you are in Australia for example, then there is or in the summer hemisphere somewhere then it’s Autumn, right? A: Yes. V: After Summer and temperatures might be dropping a little bit too. A: That should be nice I think. V: OK. So let’s talk a little bit Ausra about organ playing. Today were going to go to our church to practice for the first time actually together our program for J. S. Bach’s three hundred thirty third birthday recital which will be in what, in less that two weeks from now. Were recording this a little bit earlier than you are probably hearing this. And of course, we’ll be playing organ duets, right, that I have transcribed or sometimes were using the original score. By the way do you like playing from original score Ausra, the Aria? A: Well it’s OK although I have to play from soprano clef. V: I have to play from two bass clefs. And you have to play from soprano and treble clef, right? A: Yes. V: Which C clef is your favorite? A: Now it’s soprano because I’m playing from it, so. V: Yes, soprano is kind of nice. A: But otherwise alto is OK too. V: You mean where C is in the middle? A: Yes. V: Not too bad I think. Was that always the case for you? A: Actually alto was my favorite first. But now it’s soprano. V: Is it because you play more on the soprano clef? A: Well I think it’s easier for me to transpose a third than a second. That’s funny but that is how it is. V: What about a perfect fourth? Do you like those clefs which let you transpose a perfect fourth? A: No, I don’t like those. V: So. A: It’s harder then. V: So if you transpose from a treble clef that would mean G on the second line would have to become C, right? A: Yes. V: And this would be what, mezzo-soprano clef. A: Yes. V: Do you like it? A: Not too much. V: Why? Because it’s far away from the original. A: Yes, that’s true. V: It’s very old clef. I don’t think it’s used often enough today. A: I don’t think either. I think two clefs are used nowadays, that's alto clef and tenor clef. V: Tenor clef, right. Cello is playing from the tenor clef sometimes. A: Trombone I think. V: Bassoon too I think. A: Yes. V: Sometimes in the upper range. And who plays from the alto clef. A: Viola. V: Viola. Is that all? A: Probably not but that’s the instrument I know the best that plays from alto clef. V: And of course singers, right? Alto. A: Of course. V: If they sing from original scores. A: Sure, but singers use all those C clefs if they use the old scores. V: Um-hmm. Yeah. A: Even Mozart’s Requiem is you know original is written in C clefs except bass, of course. Bass is I think is in the bass clef. But other three voices are written in C clefs. V: Yeah. Bass has its own clef. F clef. And Ausra, from your solo compositions that you are playing. You are playing Bach’s BWV 552 E flat Major Prelude and Fugue. What is the most frustrating part for you? Everything or not so much? A: I like this piece so much although sometimes I get frustrated by the length of the prelude. Sometimes right in the middle I just feel that you know wow. There is still so much music to go. V: Do you lose your concentration? A: Sometimes yes. V: What do you do then? Regain your concentration? A: Yes that’s what I am trying to do. V: What helps you to regain your concentration? A: Just think about music what I’m playing right now because sometimes my mind just travels somewhere. V: To warm places? Warm Spring? A: (Laughs) Not necessarily. To somewhere else. V: To the Caribbean. A: Well, no. V: Caribbean beaches where you can sit and drink Margaritas. A: I never was there. V: That’s why you dream about it. A: No, no, no. V: OK. Then for me, do you know what I’m playing? A: Yes I know what you are playing. V: Tell us. A: Passacaglia. V: OK. What else? A: And three chorale pieces from the Clavierubung Part III. So actually that’s what we are doing. I’m playing Prelude and Fugue and then playing three chorales. The Kyrie, Christe and Kyrie. V: And guess what is the most challenging for me? Which piece or a few pieces? A: I think all three of them are quite challenging. But the first Kyrie is my favorite, the first chorale. Especially that it is so chromatic. I love it. V: Do you feel Ausra, that the more you play the E flat Prelude and Fugue the more relaxed you are and the more you can enjoy it. A: Yes, of course but I don’t know how I will do in actual performance because when I played it a year ago it was, well it was a nightmare. I don’t remember actually how I did do it in performance. You said it went well but I just can’t remember it. I was so scared you know my mind just shut down. V: So when you say you sort of panic but it didn’t seem too obvious. A: But actually I played it on my auto-pilot. V: So you almost memorized it then. A: Well, I don’t know. Don’t ask me. I don’t remember how I did it. V: We could consult the recording. A: Yes. But actually that was because I haven’t played that piece before the last recital for what, like ten years. And that’s a long break for any piece. Especially so grand as this one. But now because I played it last year so I don’t worry about this year so much. Because if I could play it last year so now definitely I would be able to play it this year. V: That’s what I mean. The more you play the more you can enjoy it. And for me I don’t remember if I have ever played in public those three Kyrie, Christe, Kyrie. A: That’s a new piece for you. V: And I’m not feeling too relaxed with them. I have to work. A: But you know since I played entire Clavierubung way back for my last degree recital in Lincoln, NE I think these three Kyrie, Christe, Kyrie I wouldn’t say that the easiest of entire Clavierubung because each piece is challenging in it’s own way but, but, but, sort of I felt quite secure about playing these three particular chorales because there are some much trickier ones as for example Allein Gott this is you know trio texture. V: That’s what I am playing next. A: I know and for example Vater Unser. V: Um-Hmm. A: Those are more challenging I think, than these three. Kyrie, Christe, Kyrie. Because you know tempo is not so fast in them and you could feel quite secure when playing them. V: Bach was a master of writing advanced music and although it sounds simply you know it isn’t. In reality it is quite complex. Polyphonically, rhythmically, metrically, and organistically, right? Excellent. What about the Passacaglia, do you think that I’ll be able to play it better than last time? A: Now remind me when was the last time you played it? V: (Laughs) I don’t remember. A: I don’t remember either, so. V: I might have played it from the eighteenth century score, but that was very foolish idea of mine. So now I’m playing this from the regular score. A: I think you will do fine. V: Will you help me playing if I panic. A: I can sing. V: Which voice. A: Bass. V: Bass, that’s my part. A: I’m just making fun of you. V: You know sometimes I sing together with you the duetto part. A: And I hate it. V: Why? My voice is like a Nightingale. A: (Laughs.) Wow. V: If not a Nightingale then which bird you would compare it to me? A: You know that black one. V: So you like crows? A: I’m just pretending that I don’t. V: So you say that my voice is like a Nightingale then? A: Maybe like a cuckoo. V: So I can sing a minor third down. A: Well cuckoo not only can sing this interval. Sometimes it’s major third. Sometimes it actually augmented fourth. V: And what birds voice remind you when you sing? A: I don’t know. I don’t have a nice voice. V: Today when were going to play in church I’ll try to encourage you to sing and we’ll find out which bird you are. OK? A: I think if we both try to sing we will kicked out from the church and we will scare tourists. V: But then we tell all about that in the next podcast conversation, right? A: Yes. Of course we are making jokes because when we work in church we often sang Psalm. Our voices are not so bad. V: Don’t spoil everything. Don’t reveal the punch line. OK. Thank you guys. This was Vidas. A: And Ausra. V: Please send us more of your questions because we love helping you grow. And remember when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 182, of #AskVidasAndAusra Podcast. This question was sent by Robert. He writes: Hello from America (Illinois). My name is Robert and I am learning Clerambault - Basse et Dessus de Trompette. I am using Trumpet for the Basse (Swell) and a Cornet for the Dessus (Choir) against Soft Stops on the Great. A few questions: How fast do you play this? I listened to a few recordings and it was sometimes played so fast that it was un-musical. At the end, it has a marking "Ensemble" what does this mean? Do you couple the Swell and Choir to the Great and finish with both hands on The Great? Or, are there other options? Thanks so much for your work. Robert V: Excellent. So this was a question about Clerambault. We’re looking now at the score, and this piece is from the first Organ Book by Clerambault, 1st Suite, and it’s called Basse et Dessus de Trompette ou de Cornet Separe (forgive my French) En Dialogue, basically in dialogue. So what does it mean, Ausra, in dialogue? A: It means that the trumpet is dialoguing, with the cornet. V: Right. Sometimes solo is for the left hand of the trumpet, sometimes the right hand plays with the cornier. A: Yes. Actually it’s very common, you know, writing style in French. V: Mmm, hmm. A: This type of composition when you have the dialogue between two reeds played on two different manuals. V: But not reed because cornet is, A: Yes, yes, but, but, V: It reminds of reed. A: It reminds of the reeds. Yes, cornier is a combination of principle stops. V: Or Flutes. A: Or Flutes of various pitch. V: Which ones? 8’ A: 8’, 4’, V: 4’, A: 2’ V: 3’ first, a fifth, right? A: Yes. V: Then, A: 2 & 2/3 V: And then, 2’ as you say, and then a tierce. A: That’s right. V: So five ranks—cornet. A: And sometimes you have to, you know, just add a single stop because you have a cornier already in your organ. But sometimes if you don’t have a cornet stop, you have to, make it from different stops. V: Right. So in your case, if you have an organ with cornier stop, you can easily use it, right? But if you don’t you can combine different flutes. A: Yes. V: Make it from the flute combination. V: Here the meter is 6/8, right? And the moving, the main, uh, unit of smallest rhythmical value is 16th note. A: 16th note. V: So it’s quite a lively piece. A: Yes. But you know as Robert said, where he listened to some recordings that played very fast and he didn’t like it, so I don’t think it should be so fast that you could not hear what is going on. You still has to be able to control things, and to hear what you are doing. I would think that, you know, tempo mark Gayement is not only the indication of a fast tempo but it’s more like a character mark. So as long, you know, as you playing it joyfully, I think it’s, it’s fine. V: It doesn’t have to be, A: Presto, V: Presto, prestissimo. A: Yes. V: Mmm, hmm. A: Of course it should it should be not a slow tempo, fast tempo, but still not, you know, sort of in a reasonable sense. V: Sometimes the trumpets, French trumpets are very very strong in the bass. And that’s why they have dialogue in the bass for the left hand in the trumpet, on the trumpet stop. But some organs from the modern day, they have more power in the treble. A: That’s true. V: Can, can we adapt, somehow to reinforce the, the bass stop? A: Well maybe you could add something to the trumpet. That’s a possibility but you need to be careful and listen how it sounds. V: Mmm, hmm. A: But also you know, talking about tempo again; you have to be able to, you know, to articulate. I think it’s very important when you are playing on the reeds, that you would keep articulating. V: Actually, yeah. That’s a good idea. It doesn’t say anything about articulation. Even though we’re looking at the score from the 19th century from the Guilmant edition. And were he was quite honest about his work and he didn’t have any, or two many unnecessary additions of his own, right? And at least he wrote them in parenthesis, with asterisks, and you can read about that. His registrations suggestions for example. You know clearly that it’s not original from Clerambault’s time but from Guilmant’s mind, right? All those manual indications are in parenthesis too. So he didn’t write legato anyway, slurs, which is nice. A: Yes. Very nice. V: Even though it was in 19th Century. We could say in Germany, like maybe beginning of the 20th Century Karl Straube would write everything with legato, right? Even though Baroque chorales, and now days if you play from that score you could think ‘oh maybe baroque composers wrote legato slurs’, right? If you are not reading carefully. A: Well, Straube allowed himself lots of things, you know. He always dictated Max Reger how he should write. And kept editing his work. V: True. So at the end of this piece, one, two three, four, five, six, seven, eight, nine, ten, maybe, yeah, the last couple of lines, the last episode, is written ensemble. And Robert is asking what does it mean. It simply means, Ausra, what? A: Yes, actually, here is that spot where, you know, trumpet and cornier comes together. So don’t play those two voices on one manual. You still have to keep manuals separate. V: Do you mean that you need the three manual organ for that? For that piece? A: Well, it would be the easiest way to play it, on the three manuals. V: Unless you have an assistant who can change from flutes, soft flutes to cornier. A:Yes. V: Or to the trumpet. A: Otherwise you would have to, you know, play it on a three manual organ. V: Mmm, hmm. I don’t know if Robert has three manual or two manual instrument. A: But even if you have two manual instrument, if you have pistons, you can registrate it yourself. V: Let’s see, well yes, because every change of the C to, of the cornier to the trumpet, is marked by the cadence, by the stop of the texture, so you could at this moment press the piston. A: Yes, but that last episode, it just means that you know, you have trumpet in one hand and cornier in another hand. And you play them on different manuals. V: And since cornier was a descant stop, it wouldn’t play in the bass register. You have to play it with the right hand, basically. A: Yes, and that’s how it’s written in the score. V: Mmm, hmm. Excellent! We hope this is useful to you, guys. This is fantastic piece to learn, if you have never played Clerambault, right? A: Or any French classical music. V: Mmm, hmm. Like Couperin, De Grigny, Raison, Dumage I could keep going with the names but my French isn’t good. A: But it seems that you enjoy it. V: Yeah. I like listening to my voice. (Laughs). A: I hope our listeners too, like your voice. V: If the don’t they could just read the transcriptions. A: Yes. V: Excellent! Please send us more of your questions. We love reading about your organ practice experiences of any kind, funny, frustrating, challenging, so we could help you, right Ausra? A: Yes, that’s right. V: Okay, guys. Don’t forget to practice, now. And we’re going to play today in the church, our duets too. Because when you practice… A: Miracles happen! Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 181 of #AskVidasAndAusra podcast. And today’s question was sent by Lance. He writes: Hi there Vidas. Love your daily posts. Today's one (AVA176) has a double significance to me, as our current Vicar likes the hymns SLOW. We are a combined parish, and he visits us once a month. At other times we have one of his "associate" priests minister to us, and they gladly follow the organist. The other occasion was with our previous Vicar (pre amalgamation), and I miscounted the verses on the last hymn - finished one verse short, closed the hymn book, ready for the recessional voluntary, when Fr David's stentorian voice called out "one more verse to go Lance!" Fortunately, the hymn was one that I had learnt early in my organ-playing career (at secondary school), so I just chimed in again, as I had played it so many times over the years, much to the Vicar's amusement, as he said to me after the Service, "why do you need the music in front of you, you did quite well on that last verse without it." Ahhhhh, praise from a man of the cloth. Cheers and best wishes. Lance Remember, Ausra, I had this situation too, once, but very early in my career--I think I was in the first or the second year studying at the Academy of Music in Vilnius. And I was working as an organist just across the street, in the Church of St. Jacobs and Philips. And there was a very very old priest, like 90 years old maybe, who normally didn’t use a microphone at all, although the church was quite big, and the room was reverberant. And all the other priests and monks from that monastery--it was a Dominican monastery, I think--used microphones. So this old priest, one time, I remember, shouted to me, “Organist! Can you play something for Holy Mary?” A: Hahaha, that’s so funny! I had already forgotten about this, but now, yes, I recall the story. V: Mhm. A: He was a funny old man! V: Did you have similar experiences? A: Yes, I had, actually, when I subbed for you at Eastern Michigan. You know, when I worked at the Christian Science Church, and Ypsilanti Missouri Synod Lutheran Church. And I remember that the pastor was holding a Lent service, during Lent time--like an early morning service for elderly people who cannot drive in the dark. V: Yeah? A: I remember I subbed for you during those early services, because you had some classes at school at the time. So, I remember that the organ was located at the end of the church; and you know, there was a service going on. And during that time, actually, the postman came, and he brought a package of something, but somebody had to stand up for it. And because I wasn’t playing at that time, he saw me, and he came up to me; and I was signing “Aušra Motuzaitė-Pinkevičienė,” and then when that man saw my signature, he could not make it! He asked me to spell it for him out loud, because he was so curious about the strange name--long, double last names...and so I was doing that for him. And during that time, the service was going; and apparently, I missed the hymn! And you know, the postman left, and then I was thinking, “Why such silence in the church?” And the pastor keeps looking at me, angry, and then he said, “And NOW we sing Hymn --!” And then I just played that hymn. But it was funny. V: Mhm. So actually, it feels worse than it is, right? Because people in the church, they sense that the organist is preoccupied, right, and they don’t make a big deal out of it. But when you are in the middle of it, it’s quite embarrassing, I would say. A: I know, I would say especially for your pastor, because he sort of had...you know...different opinions about men and women. V: What do you mean? A: Well, you know...the Missouri Synod is so conservative. V: Mhm. A: And he carries on all those conservative beliefs about how women are different from men, and what they can do and what they cannot do. V: And what can women do in church? A: Well, according to him, they can clean the floor! Hahaha. V: Oh. That’s nice… A: They can play the organ. Actually, it was one of his sermons, also, when I subbed for you. V: Mhm. A: And he said this looking at me--we can play the organ, but we cannot, you know, say the sermon, or lead the service, or read the Holy Scripture. So it was quite embarrassing. I know each church has those, but you don’t have to make them so...so obvious… V: On the nose! A: On the nose--especially when a woman at that time was sitting on the organ bench, and leading your service! V: Maybe he was just trying to elevate you, and giving you privilege, to be emphasized from the congregation. No? A: I don’t know, but before, he told us that women can clean the floor! So… V: And because you weren’t cleaning the floor, you were sort of a privileged member of the community…? A: I don’t know. For me, it seemed like cleaning the floor equals playing the organ! V: Ahh. I see. A: That’s how it felt, is what I’m saying. V: I see. But he was a nice man otherwise, right? A: Heeheehee, yes. V: He had funny manners, but otherwise, quite friendly. A: That’s true. V: Yeah, I think everyone who plays in church long enough can really find such experience, right? One way or another, in many churches, right? Because every pastor or priest has character traits that no one else has, right? And sometimes they become more or less apparent, and in funny situations. A: I know, yes; you could write a book including all those stories. It would be fun. V: You know, it’s hard sometimes to not take those remarks personally. But I’m sure he didn’t mean, personally, to offend you. I think he just expressed his opinion about women--it wasn’t about you. It was about him, actually. Do you think…? A: Well, who knows what he really believed, himself. I just felt sorry for his wife at that moment. V: Was his wife sorry? Did she seem sorry, or sad at that moment--do you know? A: I don’t know, but it seems for me that she just worshiped him. V: Mhm. A: She was sort of that kind of woman where, you know...very kind and gentle... V: Mhm. A: Always supporting him. V: Whatever he says! A: Yes. V: Mhm. Pastors’ wives...okay. But, so guys, if you have similar experiences in your life--funny situations, or embarrassing situations--or maybe frustrating situations, when the priest or a pastor says something to you, right, and you don’t know how to make it out--how to figure out what he means, actually--maybe write to us, and we can discuss. That would be interesting, too. A: Or we can share, and laugh together! V: Right. At least we can laugh, right? A: Sure. V: If you can laugh at the situation, then everything is sort of...not so serious. Right? What would we do without humor? A: Yes, it would be bad. V: People would go crazy, actually. Because life is full of uncertainties and challenging situations, and things I won’t even mention! Right? Okay. Hope you enjoyed this conversation, and don’t forget to practice, right? Because when you practice… A: Miracles happen. AVA180: I'm not sure if F# major key would sound well on the organ with Kirnberger III temperament3/17/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 180 of Ask Vidas and Ausra podcast. This question was sent by John and he writes: Hi Vidas, Thanks for your encouragement, my main concern with the repertoire fitting the organ is Festive Trumpet Tune, which is a modern piece, and near the end it has a trumpet fanfare and then modulates from F major up a semitone to F sharp major, and the main theme at from the beginning repeats up a semitone. I'm not sure how this unusual key would sound with Kirnberger III temperament, which I have never heard of before! On equal temperament organs it sounds fine. V: So John is coming to Lithuania in just four weeks I believe and he’s preparing to play some beautiful organ music on Kirnberger III temperament and one of his problems is this “Festive Trumpet Tune” which modulates to the tonality of six sharps which would might sound harsh or too harsh on our organ. Don’t you think or not? A: Well people used to play even you know harder music on our organ. V: It wouldn’t be a problem? A: I think it should be OK. V: Remember you played your Vierne Symphony Number 3 there. A: Oh no. I would never do it but still I played it and it was fine. V: It’s in F sharp minor but it has obviously segments in F sharp major too. A: Sure. And so many diminished chords. Like diminished chords one after another, long sequence of diminished chords and no resolutions. V: And I suspect that his trumpet tune in F or F sharp major wouldn’t be as harsh because it’s not as dissonant as Vierne’s harmony. A: Yes, that’s true. I think it should work OK. V: It totally has some basic tonic, subdominant, dominant chords probably. Maybe some modulation in between but not too chromatic. A: I know and since it’s not entire piece it should work just fine. And talking about that I played Vierne’s symphony, you played Messiaen “Diptyque” on that organ. V: I did? A: Yes, on that organ. V: Oh, I never… A: Do you think it sounded better? V: I never would repeat this piece on that organ today. I was young and stupid. Now, I’m just stupid. A: Not young anymore. V: Yeah. Whenever I improvise on this instrument sometimes I use different modes and jump from one key to another and I definitely use F sharp major from time to time. But then I always listen to what I play how it sounds right? And it does make a difference on this temperament this type of key. It’s a little bit more colorful that F major. F major is very calm and peaceful. F sharp major is more dramatic. But maybe it’s a good thing. A: Yes, that’s what I like about Kirnberger III. But you can play quite a lot of music on it. But it sounds much more interesting when in equal temperament. So it’s real nice. V: What other surprises this organ might throw at John? A: Well, don’t ask me. V: John also wrote that he is worried about sharps and natural keys being in reverse colors. C sharp is for example white and C is black. And he has never played this type of layout before. A: I don’t think this will be a problem you know. I never even thought about things like this. V: But do you remember the first time you played this type of keyboard? A: Yes, I remember. V: At musical academy right? A: No. V: No? A: At my school, National Ciurlionis School of Art. On that small organ. V: So you practiced in the practice room. Was it a weird feeling for you after playing piano for a lot of years? A: Actually it was a nice feeling. V: Nice or weird? A: Well, nice. V: Nicely weird? A: Nicely weird. Yes. V: Or weirdly nice? A: Whatever. But it was a nice thing. My piano teacher, since I played Bach well you know on the piano so as an award of that she allowed me to play it on the organ. V: Um-Hmm. A: Which stood in her classroom. V: It’s a nice award, right? I think all the teachers could have this type of award. For example if they work hard enough with their students their students could let them play the organ. Instead of getting the salary. The principal of our school could have the system, would be cheaper though. A: (Laughs.) Do you think he would still be able to keep his employers? V: Oh, some of them yeah. Some who pay for this privilege to play the organ. Would you pay? A: Well not for that organ that the school has. V: No, it’s too boring I believe. A: Too shabby. V: Yeah. But now I think John will have many more problems than just adjusting to the different layout of the colors. A: Yes, I think colors should be still fine, you know it shouldn’t bother. I think maybe during the first ten minutes of his practice. But then it’s just fine. V: I remember my other students who first tried the organ at school with sharps being white. Some of them said “Oh, it’s interesting feeling.” But nobody really messed up with their pieces or played incorrectly because of that. Maybe it was a weird different feeling, but it didn’t distract them too much. What will distract of course John, is the heavy mechanical action. A: Yes, I think this will be the hardest thing to manage. V: If he is used to you know, maybe lighter mechanical action organs in Australia. But also if he can play piano in between now and his coming that would help. If he would play with couplers that would help too. A: Sure. V: Excellent. So we hope people will not be too disturbed if they travel for example anywhere and discover a different layout. It’s good to see different kinds of layout, right? White-black, black-white. A: Yes, or sometimes you could get like brown keys, like in our home. V: Brown and browner. A: Yes, sort of dark brown and light brown. V: Yes, or in my house, my former house where my Mom now is, she has a piano with colored keys now. And that helps her to memorize where C-D-E is. A: Outrageous... V: She puts stickers, colored stickers on top of keys. A: If she would be my kid I would punish her for doing it. V: But you know she is a graphic artist maybe she thinks in colors. A: I know. V: Alright guys. We hope you can experiment with different kinds of colors and layouts and don’t be too distracted by them because the most important thing is not to get attached to anything. The organs are as magnificent instrument as they are because of variety, right Ausra? A: Sure, so you have to adjust each time, but that’s the beauty. V: And each time you play those kinds of instruments you will probably make a small discovery about yourself, about this instrument, and about the music that you are playing. A: Yes, and at the end of your life you can write wonderful memoirs. V: Maybe ten volumes of them. Or even start memoirs now like a diary and publish them on Steemit and earn rewards and maybe in time those rewards can become your additional stream of revenue. Thank you guys. This is Vidas. A: And Ausra. V: And remember when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 179, of #AskVidasAndAusra Podcast. This question was sent by John. He writes: Hello Vidas and Ausra, About your last post – someone who is legally blind would, as Tony stated, not be able to read music notation, and may have used the assistance of one of his friends or loved ones to write the message to you, unless he used some magnifying device in front of his monitor or used large font to send the message. You can get large magnifying screens from various Blind Institutes, but it wouldn’t make reading music much easier, let alone playing at the same time. So a different approach may be needed, possibly a bit like blind organists, like Louis Vierne and others, who would also have been legally blind or fully blind, and who may have mastered the art by sheer perseverance, and help from others, I presume. V: So, Ausra, remember we talked about helping Tony, when he wrote ‘legally blind’, but we didn’t really understand what he meant. A: Well, he put it in the quotation marks. V: Uh, huh, so… A: So he never sort of, if you know, if you put something in the quotation mark it means just the opposite. That’s how our language works. V: Right, so we understood that he could read music, he could see music but he couldn’t read the music, you see. A: Yes. V: That’s how I understood it. A: So if, you know, it would be like legally blind without quotations it would mean you are blind, or almost blind. But if it’s in the quotation mark, it means just the opposite. That, you sort of, you know, can see but you are bad at reading music. V: Exactly. So now that we know what Tony meant, right, and thanks to John who, who corrected us. Now we can um, discuss a little bit situation for the blind people, right? What they could do, how to play the organ. Of course, one way would be to improvise. That’s definitely the case for a lot of blind organists in France, I believe. A: Yes. V: Or the Netherlands too. They have a great tradition of improvisation. Mmm, and then another option would be to, to get a very large, mmm, font of your sheet music and enlarge them. If you can see something at least. Remember like our professor Leopoldas Digrys before the eye surgery he used to see very little and he had enlarged a lot of his scores. I don’t think that would for Tony because he is legally blind so he cannot see anything. A: Yes, and he actually puts that music rack adjusted in front of his eyes. V: Mmm, mmm. A: He would sort of well, the special device that would make the music stand closer to his eyes. V: And it also depends, if you are blind from birth, or you, I don’t know, had an accident or illness, and gradually become lost sight. A: This, you know, would mean you know, a difference way how to approach music because one ways is you know if you learn how to play being blind, and another if you know learn in your early age how to read music. V: Mmm, hmm. A: And only then you lost your sight. V: But definitely a German organist Helmut Walcha for example would be a great example for this, right? He would ask his students to play an excerpt of maybe two measures of a polyphonic composition but not all voices together but just one voice, single voice. And then he would repeat it several times and then he would ask another voice, right Ausra? A: Yes, and this an idea that you know, you learn single voice and then you put voice together after earning each voice separately. V: But then you have to have help all the time. A: Yes. V: Which could be possible now a-days. You know how? A: You could ask if somebody would record, you know, like a piece. V: In separate voices? A: In separate voices. V: Exactly. A: And then you could learn from recording. V: Even our students for example, that would be a, our readers who are listening to us from all over the world, if they are practicing in single voice combinations, slow enough. They could record themselves and let’s say, and put the recording online. I bet some blind organist would even want to pay for that, right? A: Yes. V: As a practice aide. A: That’s true. V: Umm, exactly. What else? MIDI system could help too. Remember you could put music in the MIDI notation and then play it in various speeds, play back and the organist could play from, from, from listening to the recording. A: That’s true. V: What would you do if you suddenly lost your sight? Would you play from the sheet music or would improvise or something else? A: I don’t know, I don’t thought about it. V: I know what I would do, I would probably improvise. And since I’m improvising every day it would just mean I would just improvise more, you know. A: Well the I would probably have to improvise too. V: Mmm, hmm. I had one experience of being blind for one day. Did you have this experience? No. I haven’t told you. A: For an entire day? V: A little be less. It was an experiment. I was in the summer camp with young people and in the middle of the woods basically, this camp was for a couple of weeks, I believe, I remember in Inkunai. And one summer they had a few blind kids and everyone else in the camp had an assignment to put, to be blindfolded, right? To put like a scarf on your eyes, and to walk around without being able to see. So, so in order to feel a little what blind people feel all the time. So we, we walked around for maybe 30 minutes or so, just a little bit, you know. It was really, really difficult not to bump into trees and things like that. A: Well I had sort of, you know, experience, but not for such a long time, and you know, because of the health condition, not because of some experiment. Because I have terrible headaches, called migraine, and sometimes before that I sort of get, uh, very, very weird experience, and some of them are related to my eyes. And I had once, I almost lost my vision, you know, in the middle of the street and I, you know, it was very hard for me to find my way home. V: Was it a scary experience. A: Yes, it was a scary experience. V: Because you didn’t know how long it would last. A: Yes, and this was the first time it happened so it scared me a lot. But somehow I reached home and you know, maybe after ten minutes being at home, I had this sudden headache and then I just understood that it’s related to, to things losing vision and headaches. And then I had this actually this year at school. During playing dictation for my senior students. And you know, it’s a big part of dictation so it sort of V: Difficult. A: Quite, difficult yes, to play, and suddenly I lost my vision too. V: Did you have a headache at that time too? A: Later on, yes. It comes later on. It doesn’t come at the same time. V: So you can’t predict what will happen next. A: So then I just finished the class, you know, right on time. I didn’t want to scare my students so I didn’t tell anybody anything. And then I somehow managed to go to my colleague next door and, and actually she took me to the teachers green room, where we have coffee machines, so I bought a coffee, you know a strong coffee, and it helped a little bit, yes, for my vision, and then I had that horrible headache. But vision came back. V: Mmm, mmm. Yeah. It’s scary! A: I don’t know what I would do if this would happen during my recital. V: And driving. A: Or driving. V: Mmm, mmm. A: Well if it would happen during driving, you would just you know, V: Stop. A: Stop. V: Is it sudden or gradual loss of sight? A: Well, it’s, it’s, you know, it’s, it’s sudden but it’s not like you know, you can not see anything. I mean you see dark for example, yeah. I sort of, you see all kinds of rainbow colors. V: Mmm, mmm. A: And they keep flashing very fast, in front of your eyes. V: Right. A: So you cannot see anything because of all these sparks, and spots and colors. It’s hard to describe. I think you have to experience it in order to understand how it works. V: I bet some people write some comments for us afterwards because they might have something like that. A: Because I had migraines all my life since I was probably ten or eleven years old but I never had this kind of stuff before. V: Mmm, mmm. Well good news is that life always finds a way, right? And look what Beethoven did,,, A: Yes. V: at the end of his life. Right? He lost his ability to hear, but he wrote music anyway. A: Well I think that losing you know, hearing would be easier problem for me compared to you know, losing the vision. V: Okay. I’m typing now into Google, blind painters. Let’s see. And there are ten amazing blind painters, right away, the second hit. Or visually impaired artists, you know. And look! They’re really beautiful! And somehow you can see the colors in your mind, you know. Or combinations of the colors. A: It’s the same as you know, with, with Beethoven. Except, you know, he lost not his vision but his hearing, he could still music inside of him. V: Mmm, mmm. So please don’t be too discouraged. I know it’s not a regular situation. It’s not like, like you will walk the street with, with optimism and you know, um, all the time. Because yes, it’s frustrating and the situation is very difficult to cope but if you have a dream which is big enough, you can always find a way. A: Sure. V: Sometimes people climb mountains without their legs, right? A: Yes. V: Sometimes people in wheelchairs who can only move their tongue I believe, right, they are paralyzed from neck down. They can write books and inspire other people because they have really sharp mind. Look what scientist Stephen Hawking does all the time. Right? Look him up. A: Sure. And you know that Bach got blind too at the end of his life. Now you know scientists believe that it was because of diabetes. V: Yeah. A: So, nobody is sure for, you know, one’s health. So it just love yourself you know, and take it easy. V: You know, they say that a person has to have some level of security, physical and mental security in order to be creative, in order to pursue their dreams, right? To have a secure house our home, to have food, right? Shelter, enough money to survive, right? And then they can be creative. And then they can play. And then they can express themselves. And then they can follow their passions. Which is true in most of the cases but not all, right Ausra? Because sometimes people can overcome those burdens and challenges, despite them become successful in life and become inspirations for others while being in a wheelchair, while being blind, while being challenged in one way or another. Because what does it mean, challenged? It means that you cannot do something better than someone else, right, something. If you are visually challenged you cannot see as well as someone else can see, right? But in a sense that’s the same situation with everyone of us, right? I cannot do everything as well as you can do, right? Remember Quentin Falkner, our professor? He called himself with humor, technically challenged, right? Although it’s just probably his own expression but, yes, it’s true. There are people who can play organ better than us, right? We could think like that too. A: Yes, but not everybody is in the same position, so, V: But I think it gives hope, this sort of, um, mentality that you don’t compare yourself to others, right? And try to make best of the situation. A: That true. V: Thank you guys. This was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen! Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 178 of #AskVidasAndAusra podcast. Today’s question was sent by Michael. He writes: Dear Ausra and Vidas, First of all let me say thank you for all the valuable information you are generously sharing with us - this is so helpful and inspiring. I would like to address a problem I have with hymn playing in a church with rather long reverb. At the console I hear the congregation sing with a delay of about half a second. I think this is the time the sound needs to reach the front wall, to become reflected and to reach me at the console in the rear. That makes it difficult to assess whether I am too fast or to slow for them to sing. This is absolutely no problem for me in smaller rooms with less reverb. Last Sunday my wife sat in the nave and said that she had also problems to adjust to my playing. I have been playing the organ for more than 40 years and - although being an amateur - I would call myself an advanced player. I am used to soloing out hymn melodies in the soprano or tenor and have no problems in leading the congregation. It is just this church where I substitute from time to time and experience these problems. Do you have any idea what to do? Thanks a lot. Michael Ausra, have you had this experience before, where the delay and reverberation is huge, and you seem to drag a little bit with your liturgical playing? A: Well, not so much with congregational singing. But I had that problem actually in Biržai, the northern city of Lithuania... V: Right. A: Which has a 3-manual pneumatical organ. Actually, I remember playing there a sort of huge program and recital together with you, remember? V: Mhm. A: And that time, I didn’t know what to do, because the sound of the organ actually would be delayed. V: About what? How much? A: Well, it’s hard to tell, but you know, I just could not manage it at that time. And it was a disaster, because I thought if I will hit the keys harder, the sound will come sooner! But actually, it was even more the opposite. The harder I tried, the more delayed the sound would become. V: And the slower you played. A: And the slower I played, yes. V: It seems it’s a problem of a lot of historically-built pneumatical organs which are not in good condition, right? Because the air pressure in the tubes is not strong enough. A: You know, but it’s an interesting thing, because when I returned to that instrument maybe after 10 years of a break, I didn’t have that problem. V: Did this instrument have any restoration in between that time? A: I don’t think so. V: So you changed your approach somehow...? A: Yes, I think I changed my approach--simply, I tried more various instruments in those 10 years, so...probably I became just a little better. V: I see. A: But in Michael’s case, yes, it might be a problem when you don’t hear what the congregation sings, and the church has reverberation. But I think there are ways you can improve that and make life for yourself easier. V: It’s the same as in pneumatical organs, right? You have to lead with your fingers, and you have to not listen to what you are hearing, but rather imagine you are playing ahead of them, a little bit. A: Yes. Actually, what I would do in a case like this is, I would try to articulate more. V: Mhm. A: That might help, for clarity, in a church with reverberation. Also, I would definitely sing together with my playing. Not necessarily aloud, but maybe in your mind. But just keep singing. It will give you a good idea of what the tempo should be, and how the congregation will sing. And I would keep the accompaniment as simple as possible, in a church like this. And Michael mentioned that he’s already an advanced player, having played over 40yrs. That’s excellent. But maybe you know that...making the melody in the soprano or in the tenor, or an ornamented version or another elaborated version--I would keep that for a drier acoustic, and the churches where he plays more often, and the congregation is more accustomed to his playing. But in this particular case, I would just keep the accompaniment as simple as possible. That might make things easier. What do you think, Vidas, about it? V: I agree. And I would just imagine that Michael has to lead--not follow. A: Yes, yes. Don’t wait for them! V: Because they are waiting for you, and you’re waiting for them… A: Yes, they need to follow you. V: And everything gets slower and slower. So what it means, practically, probably--it will not be a pleasant experience for you to play a little bit ahead of them. Maybe half a quarter note ahead, maybe something like that--always leading them, right? It’s a similar situation when you have a slow response in low-pitched pedal pipes. You have to play the pedals a little bit earlier, like subbass ‘16 sometimes, soft. But soft and slowly speaking pipes, especially in the bass register, you have to lead them a little bit with your feet; and it’s not easy to do. A: I don’t like that feeling, when it seems that you have to play pedal almost a quarter note off… V: So what it means is, you have to lead with your feet, then. A: Yes, that’s right. V: Right. So then, in Michael’s case, he has to lead, perhaps, with his fingers, right? And imagine jumping in a little bit ahead of the congregation every time. A: Yes. And you know, it would be nice if he would have an opportunity to listen to how the organ sounds from downstairs, when the congregation is singing. Maybe when another organist plays in that church, he could come and listen from downstairs. V: Or ask his wife to record. A: Yes, recording would also be a good idea. V: And then, listen to this recording almost right away--after the service, preferably, when the impression is fresh in his mind. Right? A: That’s true, yes. But it’s always hard to be an organist, because you sort of have to divide yourself. Half of you sits on the organ and plays, and the other half is downstairs, and listens to what you’re doing, and what the final result is. V: And if the church is big enough, the sound will travel rather slowly; and people sitting in different positions of the church will hear differently, too. So perhaps people sitting in the front of the church will find, then, “Oh, the organ now is on time!” But then, people who are sitting in the back--“Oh, the organist is always sort of rushing!” Maybe people in the middle will find a balance. So you also have to find a balance between rushing a little bit and dragging. Or playing on time, I don’t know. But as Ausra says, record yourself, and listen to the recording, and then you will know how much you can anticipate the congregation. A: Yes, that’s true. V: Thank you guys. We hope this was useful to you. These kinds of questions are really fun to discuss, and they’re very practical, and a lot of people have the same frustrations that Michael has. So we really hope that you apply those tips in your practice; and if they do work for you, let us know. If they don’t--if you have some different experience or perspective, also never hesitate to write us. Thanks, guys! This was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen. AVA177: Does One Need To Fill Out The Harmonies In Baroque Organ Two Part Works (Melody And Bass)?3/12/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 177 of #AskVidasAndAusra podcast. This question was sent by Mark. Hi Vidas, I have a very quick question - does one need to fill out the harmonies in baroque organ two part works (melodie and bass)? Is this a practice that was expected at the time especially with Italian and English organ music? Thank you for an amazing blog! Best regards, Mark V: Do you know what he is talking about? A: Well, I’m not quite sure if he means like Bicinium technique or... V: Chorale harmonizations. A: Chorale harmonizations like in Krebs’ Clavierubung. V: So there are two types of two voice texture, right? If you have a bicinium maybe let’s say chorale prelude where the right hand plays the melody and the left hand plays the accompaniment, but this accompaniment is rather fast and with figuration, arpeggios, and leaps and scales. Then I don’t think it’s appropriate to add alto and tenor. A: I think so too. Because you know sometimes two voices are plenty. For example two part inventions and some dance suites. V: That’s because when you have very thin texture like one voice or even two part texture then composer tends to create or fill in the harmonies with these two parts only so he needs to basically make a lot of arpeggios and produce imitation of the chords, right? A: True. And think for example about string instruments like cello. We have so many nice suites written by Bach where it’s only one voice and it’s fills out space completely. V: So the rule is the more voices you have the less movement between the voices you can supply. Basically if you have let’s say six part chorale prelude with right hand playing two parts, left hand playing two parts and two parts in the pedals can you have a very fast moving independent motion? A: Probably not. V: No, very thick texture. But if you have let’s say one voice or two voice texture then you have all kinds of leaps and arpeggios and runs and flourishes. A: Yes, but if we are talking about chorales, hymns, and you have two voices based on soprano usually no. If it’s intended for harmonization it will have numbers underneath of the bass. V: Or above the bass. A: Or above the bass staff. So and that way it will mean that you have to harmonize and to add two more voices. V: Exactly. So look at the numbers. If you see the numbers above the bass line then presumably you could add, fill in the harmonies or even make a complex version of the chorale prelude by creating four part texture but not necessarily in chordal motion but making figurations and even imitations between the voices like in the Orgelbuchlein. A: Yes, that’s right. V: But that’s the next level, right? The first level should be to add the chordal texture always to simplify things. Wonderful. Do you think that Mark is referring to Italian music as the choral music? I don’t think so. Italians didn’t write that. A: Yes, I don’t think so either. V: So probably he played some Italian biciniums, right? Where figuration and filling in the harmonies is not necessarily a part. A: Sure, that’s true. Bicinium technique was rather important technique in Baroque time. Even you know J.S. Bach included it in his Clavierubung Part III where we have four wonderful duets. V: Exactly. And sometimes biciniums have one voice stationary like a chorale melody in the right hand or in the left hand too. Or you could have imitation and dialogs between each part like in those duets in the Clavierubung Part III. I think we could make fingering for those too. People would enjoy them. A: Sure. V: Because they are not easy. They are like full-blown two part fugues. A: Yes, they are not easy. Definitely I agree with you. V: But they have curious structure because they have repeated sections “A” and repeated sections “B” like ancient two-part forms. A: But I think, you know, that Bach wanted to leave this to us you know, as part of his legacy because this was one of those rare collections which was actually printed out during his lifetime and it means it is very important. All those pieces that he included in these printed out collections. V: Is it more important that Orgelbuchlein? A: I think so, I think so. Because you know, I am still not quite sure about Orgelbuchlein. It seems for me that Bach got bored at some point because he didn’t finish it and because it was not the end of his life, actually. But you know sort of middle I believe, or even earlier age. So I don’t think that it has the same weight as Clavierubung Part III, for example. V: Definitely. Clavierubung Part III. A: Or other parts of Clavierubung. V: It’s a complete collection, right? Part I is partitas, Part II is French Overture and Italian Concerto. A: So you have sort of all these various styles, you know, in Clavierubung. V: Part III is what, organ chorales and E flat Major and Prelude and Fugue and those four duets. And what is in part IV? A: It’s Goldberg Variations I believe. V: Ah ha. So Bach really wrote a compendium of every imaginable keyboard technique that he used at the time. A: So I believe that these four parts of Clavierubung and his Art of Fugue is you know our most important pieces to study in order to understand Bach and baroque music. V: Do you think Ausra that if a person, like any of our listeners would master those four parts, some of them are for the harpsichord or course, some of them for the organ, would they be able to play just about anything from the baroque times? A: Sure, definitely, yes. I know when praising these four parts of Clavierubung and Art of Fugue I don’t want to sort of diminish the Orgelbuchlein. It’s also very important collection especially for beginners when you are just learning the baroque language because it has all those important baroque figures. Like each chorale is you know, devoted to some type of technique, some type of baroque figure. V: Yah, one figure basically goes throughout entire chorale prelude in imitation. It’s basically the second level of choral writing. The first level would be harmonization of the chorale. The second level would be like Orgelbuchlein type of chorale prelude. The third would be with added ritornellos in between the phrases. The next level would be already very advanced. A: Yes, and to some of his chorales from Orgelbuchlein actually, he took one later on in his life and even I think on his deathbed he took the chorale “Wenn wir in hochsten Noten sein” and you know recomposed it with a different title “Vor Deinen Thron.” V: Exactly. “Vor Deinen Thron Tret Ich Hiermit,” basically “Before Your Throne, Here I Come.” A: Yes, so it’s like a final stage of his life. V: Although it was an early version, right? From Orgelbuchlein. Wonderful guys. Please explore more of Bach’s works, Bach chorale preludes, they are wonderful. And biciniums are wonderful too. You can learn so much. In fact, if you just master fifteen two part inventions, and then fifteen three part sinfonias you will be able to play a lot of baroque music too. A: Yes. It’s like you know, baroque ABC. V: Thank you guys. This was wonderful question. We love helping you grow so please send us more questions like that. We will discuss that on the show. And now we are going to play some Bach music because Bach’s birthday is approaching soon and we’ll be celebrating it and hopefully you will be celebrating it as well. And remember when you practice… A: Miracles happen. AVA176: I Was Greatly Embarrassed As The Congregation Continued With The Fourth Verse A Cappella!3/11/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 176, of #AskVidasAndAusra Podcast. And this question was sent by Alan. He writes: Vidas and Ausra, I enjoyed this podcast. I think the best piece of advice for me was: “…you will not get a medal for playing advanced music.” I have to remember that playing the organ is sort of like driving a car, in that you have to know your limits. Otherwise you could end up losing control, which can sound pretty bad in the case of a pipe organ. I had a different experience this past Sunday when I was playing at a local Uniting church: I was bringing the last hymn to conclusion, and wondered why the minister was soldiering on at full tempo instead of following my ritardando. I was then greatly embarrassed as the congregation continued with the fourth verse a cappella! I quickly switched registrations and backed off the swell pedal, and gently brought the organ back in for the second half of the verse. Nobody was fooled though. V: Oh, remember Ausra, sometimes that happens, right? When, when the minister or a priest sings along and doesn’t listen to the organist at all, and has his own tempo, and the congregation also follows the priest or the minister and then the organist is left behind, or uh, or actually, maybe he sometimes speeds up and nobody listens, right? A: Yes. V: Did this happen to you? A: Well, maybe not so much as you know the organ would be silent, but, but, yes, sure, I had some, some stories like this. V: In America or in here Vilnius? A: Well, both places. Actually not so much in Lithuania because the congregation doesn’t like, you know, to sing so much in Lithuania. Although in Lithuania, usually you know, elder women like to, to slow down the tempo. V: To drag. A: Yes, to drag. V: This is because perhaps the churches are big and the reverberation is also vast, and sounds travel slower this way. A: Well, and they just like to sing in a very slow tempo. V: Without any energy, right? A: And to do much vibrato on each note. So just imagine that you know, the quarter note becomes like a whole note. It’s unbearable. V: I think that was actually the case when in Germany, they introduced, um, congregational singing, back at the beginning of Reformation. Not at the exact beginning but maybe a century afterwards. And they tend to sing the chorales very, very slowly. A: Yes. V: Did you hear about that? A: Yes, I heard about that. V: Yeah. A: But that’s why, you know, the German organs have those huge pedals towers. Actually having the loud, eh, bass, held to you know, to, to, to, to regulate congregational singing. So I think it’s crucial, that you know, you would add enough of, of sound in the pedal part. V: Would that help Alan too? A: I hope so. I think he needs to play organ very loud in that case, you know, his pastor cannot, you know, dictate his own tempo while singing hymns. V: Or make him sick, maybe ill, not sick, is the word. Maybe he can overpower him this way too, if the pastor had a cold or something. A: Well, don’t be so cruel. I think making the registration louder will work just fine. V: Sometimes loud registrations are a pain for people with hearing aids, right? A; Mmmm, that’s true. V: So it’s a slippery road, balancing, uh, registrations and power level of the organ and congregational singing, and elderly ladies too. A: That’s true. So you know, it would probably be a good idea to discuss this with the pastor. Ideas with minister, ideas, about you know, singing congregational songs together and you know, about who is responsible for what. Because I think ministers should be responsible for liturgy, for making sermons, and I think organists should be responsible for making music. So while leading the congregational hymns, I think ministers should be listening to the organ. That’s my opinion. V: Do you think that would work, discussing this with his minister? A: It depends on what kind of character he is. V: Because if he was, if he had enough tolerance, then he would have understood this already, right? That he had to follow organists lead. But if you bring up this issue to him and say, ‘dear pastor, or minister, please sing according to my wishes’, um, then, then he might perceive it as a threat. A: Well then, there is one more thing he can to, just to play loud. V: That’s not a bad solution though. A: Sure. V: Because organ has to lead, and everybody else has to follow. But according to the text, sometimes registration can be softer too. A: Yes. V: Alright, so we hope that Alan can experiment at least in making the tempos according to his wishes, but sometimes it’s dangerous to keep his own tempo, right, without any regard to the congregation. A: Well, what you will have to do when you are accompanying hymns, you have to sing along. And I’m not meaning that you need to sing loud, you know, all the time, but at least in your mind, you, you need to sing, and you take breaths. That way you will know how to face and how it’s comfortable for sing for others. That way you know your tempo will be natural, as it should be. Because, I mean, if you will not, you know, consider the text, if you will not try to sing yourself and just take tempo whatever you want, it might not work. It might be awkward and unnatural. V: It might be too fast. A: Yes. So singing together you know, is always a good idea. V: In Lithuania, organists tend to sing and play at the same time. A: Yes. V: And in Poland, I heard too. A: Yes. V: But in western countries, let’s say, organists have to play, and, and congregation or choir has to sing. Mmmm, so, experiment, experiment, experiment, and, choose what works best in the long run, right? A: Yes. V: And avoid probably conflicts. A: Sure. Sure. It’s better to get along well with, you know, everybody, especially with clergy since they write, you know, your check, most of the time. V: There is another option; to play more unfamiliar hymns that the pastor or minister wouldn’t know. A: Again, it depends on, you know, who selects the hymns for service. V: Ah, yeah. A: Because sometimes, it’s minister, who you know, picks hymns. Sometimes it’s organist or music director. So you never know. V: You could, or Howard could write, compose his own hymn and then nobody would know. And then everybody would listen to him, and follow him, without singing, um… A: Probably the hymns would wholly unfamiliar. Nobody will sing it. V: Then you will need to do a congregational rehearsal. A: Sure. V: Right? But it’s a good question sometimes to introduce a new hymn, unfamiliar, from the hymnal or from the hymn supplement, or, or even yes, to compose your own. I mean, you’re also creative, right, and you have the right to create whatever you want. Of course it doesn’t mean that everybody will love what you create. A: Sure. V: But it doesn’t hurt trying, and learning from your mistakes, if there are any, and um, benefiting all, everybody. Excellent! Thank you guys for, for these questions. We love discussing them on the show. So please send us more of them. And um, now, we would love to go and practice, because if we just talk about practicing, it’s, it kind of defeats the purpose, right Ausra? A: Yes, that’s right. V: So, this was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen! |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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