#AskVidasAndAusra 64: How not to find multiple keyboards of the organ to be a bit intimidating?9/7/2017
Vidas: Let’s start now Episode 64 of #AskVidasAndAusra podcast. And today’s question was sent by Dan. And he asks, “How not to find multiple keyboards of the organ to be a bit intimidating? Take care, and keep up the good work with the podcasts and stuff. Dan, a loyal listener from here in Ontario Canada.’
Wonderful! Ausra, isn’t it fun, that people from Canada listen to us? Ausra: Yes, I think it’s very exciting! Vidas: And they’re having various challenges, and we’re trying to help them! Ausra: Sure! Vidas: It’s really fun. So, when you have multiple keyboards on the organ--two, three, four, sometimes even five; the largest pipe organ in the world has seven keyboards!--it’s incredibly intimidating, right? What was your first experience when you tried to play a three-manual instrument, Ausra? Ausra: It was difficult, actually, because, I don’t have such long legs and long arms, so it’s always a challenge for me to play on the upper keyboard. So I just have to register my piece in a clever manner, and to choose my manuals correctly. Because otherwise I might be in big trouble! And I don’t think I ever would go playing higher than the fourth keyboard. I would never play on the fifth. It would be just, physically for me, impossible. And it’s okay; there are still many ways, how to register and to play well even not using all of the keyboards. But now, I’m pretty comfortable with using the fourth manual. Vidas: Here is the exercise I think people can apply in their practice, if they have three manuals (or four!) at home or in church, but they’re not used to this. They’re struggling with changing manuals and adapting. How about this: you play your piece on multiple manuals (even though stylistically it would be incorrect (it doesn’t matter). But let’s take a piece and play a phrase or a sentence or a musical idea (a complete, probably, musical idea) on one manual, and then you start another musical idea on another manual. And so on: you go through multiple manuals, sometimes like in an echo manner. Like if the manuals are registered loud-softer-softer-softer; or soft-louder-louder-louder; you could do different kinds of dynamic effects this way. But that’s not the point. The point is to get used to the multiple keyboard changes. Would that help, Ausra? Ausra: I think that’s a good exercise. And in general, the more pieces you will practice while changing manuals, the more comfortable you will get in time. Vidas: Try to improvise on that unfamiliar organ more. Try to explore different sounds and manuals yourself, maybe playing with one hand on one manual, and drawing the stop by hand on another manual, preparing; and after a short break, trying to play it with the left hand on another manual, and then transferring your right hand on another manual, then looking at another registration on a third manual with right hand, and then probably jumping from keyboard to keyboard this way. Ausra: And even if you practice on the piano, or on a small organ that has only one keyboard or two keyboards, just in those spots where you know that you will have to change manuals, imagine that you’re changing manuals, and do it physically; basically, maybe by taking a longer pause, and making that extra motion with your hand. This will help you when you will have to do it for real. Vidas: As Professor Pieter van Dijk says, it’s all mental, right? Ausra: Yes. Vidas: All kinds of physical things all begin in your head. So even though you don’t have three manuals, four manuals, or five manuals, you might have just one manual, but you can pretend to be jumping from manual to manual. Ausra: Definitely it will help you. I do that a lot, myself, and it really helps. Vidas: Yeah. Otherwise you get used to this one-keyboard layout; and when the time comes to go to perform in public in a different situation, with a different keyboard layout...as Dan says, it’s really intimidating. Ausra: Yes, but it will get easier with time. The more experience you will get, the easier it will be. Vidas: The more experience with different organs, right? Ausra: Yes. Vidas: And playing different kinds of music, too. Ausra: Sure. Vidas: Okay guys, we hope this advice was useful to you. Please send us more of your questions; we love helping you grow. And you can do this by simply replying to our messages that you get as a subscriber to our blog at www.organduo.lt. So, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
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Vidas: And let’s start Episode 63 of #AskVidasAndAusra podcast. And today’s question was sent by Kae, who is helping, actually, to transcribe our podcasts for us. And she’s very helpful, and a very accurate transcriber. So thank you so much, Kae, for doing this.
And now, back to her question. She asks, “When do you usually register a piece: before or after you learn to play all the notes? I think registering a piece can be the most fun part of preparing a performance, but maybe it should be saved for last? If my piece is very loud, I will usually practice using softer registration, but this means I get used to the quieter sound and start to prefer it. I don't know. What is your opinion? Thank you for all your work, it's wonderful to read all of your posts. I especially like your new podcast feature with text instead of just audio.” She’s wonderful, right? Because without her help, it wouldn’t be possible! Ausra: Yes, and an excellent question, actually, a very interesting question. Vidas: Let’s start with how we do it. It’s not necessarily the only way, because some people advise to analyze the piece, and know how the piece is put together right away, and even to figure out the registration just before you learn the notes. And some of them do the notes first, and decide on the registration later. So how do you do it, Ausra? Ausra: Well, usually, I learn the music first, actually. Vidas: But while learning notes, don’t you sometimes think, “Oh, in my upcoming performance on this particular instrument, I’m going to use this combination. Or that combination. Or manual change--I will go the third manual instead of the fourth manual or eighth manual instead of the ninth manual:).” Ausra: Of course. I always keep that in mind, because otherwise I would not know how to play. But for example, as Kae mentioned, if it’s a loud piece and she practiced it on soft stops, and she will get used to that sound and she will prefer it--I would still suggest to play Organo Pleno pieces on softer stops during just regular practice. Not always, not all the time, but most of the time. Because otherwise, you could just hurt your ears, and that wouldn’t be good. But while playing even on the 8’ flute, you can still imagine you’re playing Organo Pleno. Because then even your touch will be different--a little bit different. Vidas: Absolutely. Ausra: But I often register the final version of the piece when I’m on the actual organ on which I will be performing that piece. Vidas: Do you sometimes register on the table in your head? Ausra: Yes, I do that sometimes. Vidas: To save time? Ausra: Yes, and then I just have to adjust some things when I get to a real organ. Because you are in sort of a luxury situation if you know the instrument on which you’re performing in advance, and I mean, in a practical way, that you have played it. But most often--for concert organists--you can only imagine what you will get! Of course, you see the specification lists, but you still cannot hear the actual sound until you get to the organ; and most of the time, you have one or two rehearsals, sometimes even almost no rehearsal before your actual performance. Life is life. So, you sort of do your imaginary registration; and then you do the real one, when you get to the real instrument. Vidas: And the more experience you have with pipe organs, then the more closer to reality your mental preparation will be. Ausra: Yes. Vidas: Although there are exceptions, right? You discover that, let’s say, this principal is not loud enough; or this flute is not making sound that you want. Ausra: Yes. Vidas: So you need another combination. Or when the reed is out of tune... Ausra: Yes, sure. And especially when you are learning pieces where you have to use two manuals at the same time, try various combinations when you practice on your home organ or your school organ. Because otherwise, it might be very hard for you to switch--to change the manuals, for example. Imagine you’re playing a Trio Sonata by Bach. And you always play the right hand on the second manual and the left hand on the first manual. And when you go to the real organ where you will be performing this piece, you see that it has to be the other way around--left on the top manual, and the right on the lower manual. It might be a problem for you to do that. Vidas: Absolutely. Ausra: So practice all these combinations. And of course, if you have access, regular access, to the organ where you will be performing that repertoire, then it might be a good idea to register pieces right away, and to practice in that way. Vidas: And talking about trio sonatas, and this kind of texture--make sure you practice also dropping one octave lower one part… Ausra: Yes, because you might need that, too, and register. Vidas: Dropping probably the left hand part an octave lower, because otherwise you get Cross-relations between hands. But 8’ stop sometimes is not as beautiful as 4’ stop; so you should choose 4’ registration...but then you need to drop one octave lower, your lower voice. Ausra: But as Kae mentioned in her question, registration--registering her piece is really the most fun part of organ playing, because each time you can explore and find new colors. And it’s sort of strange for me, but some organists keep the registration. For example, they perform a recital in one place, and they write down that registration and try to keep it for the rest of their life! I don’t like doing that, because if I will come back to that instrument, let’s say after 10 years, it doesn’t mean that I will register it in the same way; because maybe my taste will have changed in that time… Vidas: Or your level might have grown, too. Ausra: Yes. So I would suggest each time you would do your own new registration. Vidas: For example, right now as we’re recording this, we’re mentally preparing for our upcoming performance in Paslek, Poland on the Andreas Hildebrand organ from 1717. So that was Bach’s day and age--a Baroque organ. And we’re practicing sometimes at home, sometimes at St. John’s church here in Vilnius...but always mentally thinking about Poland, now. Ausra: Yes. Vidas: That’s how we save time; that’s how we save energy and prepare for the real situation. It doesn’t mean that we will be 100% right, but we will have a starting point from which to begin practicing and rehearsing in Poland. Ausra: Yes. And another important thing is that you always have to choose your repertoire for a particular organ. It just amazes me how sometimes organists try to play all kinds of repertoire on one instrument. I mean it’s good if you are in the United States, and you have sort of “universal organ” on which you can play any kind of music; but in that type of instrument I don’t think that any music will sound equally well. But still it’s possible to register and to play it. And otherwise if you’re playing on a historical organ, or a replica of a historical organ, you have to choose your repertoire right. Because you cannot play any piece of music on any instrument; that’s just impossible. Vidas: Nevertheless, for example, a lot of organizations prefer to have an eclectic instrument, and I just read the guidelines for AGO composers’ competition (you can compose organ music and receive a prize if you’re selected). So they want this music to be performed on any type of instrument. Mechanical, electromechanical, Baroque, Romantic. They’re saying, “You should write a piece which will fit any type of organ.” That’s kind of silly, right? Ausra: Yes, I could not agree more. Vidas: But that’s life, right? That’s their requirement. So sometimes, you have to make those hard decisions, if you want to have the most opportunities in life (at least at first, when you don’t have so many opportunities). But always think about the target organ when you will be performing in public, and that way your registration work will become very efficient. Ausra: Yes. Vidas: Thanks, guys! I hope this was useful to you. And please send us more of your questions; we love helping you grow. Okay! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 62 of #AskVidasAndAusra podcast. And today’s question was sent by Adeniyi, and he writes that he has no organ to use. And that’s his challenge, right Ausra? Can you practice organ without an organ?
Ausra: Well, you can do a lot of work not on the organ. But later you still have to apply it on the organ. Because you can do mental preparation, to work with a score without any musical instrument; then you can practice on the piano and do a lot of things, too; but finally, you still have to get access to an organ. What do you think about it? Vidas: You’re right, mental practice, keyboard practice, all are very useful things, especially when you have to save time, if you travel, if you are in a room without an organ. But then let’s talk, Ausra, about getting access to a church organ someplace in your area. You don’t have to have an organ in your house or in your home? Ausra: Yes. Vidas: So obviously, there are churches nearby--maybe five miles around you, or ten miles around you, in your neighborhood, in your city, maybe in your region. If you live in a remote area, you can practice, let’s say, just once a week-- Ausra: Yes. Vidas: And do all your work on the keyboard, and get better this way; but then, get access to a real organ with pedals, let’s say just once a week. So Ausra, how would you imagine the situation: You have no organ at home; you have a piano, for example; you want to practice organ playing; and you have a church in mind in our neighborhood. And pretend you are not a university organist! So you have to go someplace and ask. What’s your first step? Ausra: Maybe I would just go to the nearest church, and just ask them if I could use the organ, time after time; and I would suggest something in exchange, maybe a volunteer program. And not necessarily to play during the service, at the beginning; if I would be just a beginner organist, maybe I would suggest to be an usher or to do some other kind of work. Vidas: Yeah, especially if you have no organ playing skills at the beginning, it would be too strenuous for you--too stressful--to volunteer liturgical organ playing once a week, or do some other, professional work, right? But then of course later on, maybe in a few months, or even half a year, or the next year, you can definitely volunteer to play for them in the church service, in exchange of letting you practice in their room. Ausra: Yes. Vidas: Do you think the church administration would be willing to do this kind of exchange? Ausra: I hope so. Maybe not each church would agree on that; but I think most of them, yes. Vidas: Because most of the churches need volunteers, right? They are not too packed with volunteers; there may be some work they could offer you to do in exchange of your services. Or maybe they would need some kind of other help. Maybe you know how to do computer work or maybe you can do some manual work, too. Ausra: Yes. There are all kinds of possibilities. Vidas: So, the church is one possibility. Do you know of any other possibilities to get access to the instrument in your area? Ausra: Well, there might be some neighbor who has an instrument… Vidas: For example, if you have a group of friends who are interested in organ playing, and one of them has an organ at home, so let’s say three of them or five of them could get together and play recitals for one another, and also get regular exchange practice on that instrument. Maybe make a donation for the maintenance of the instrument, and the use of their time. That’s possible, if you live around organists. So usually that happens in a city situation, not in a remote area. Ausra: Not so much. Vidas: Okay, but what if you have this access once in a while to the church organ, but you want to practice regularly on a keyboard without pedals organ music which has a pedal part. Can you do that, Ausra? Ausra: Well, you can do that. You can just draw yourself a pedalboard, and imagine that you’re playing it. Vidas: Or print out a pedalboard from the internet. Ausra: Sure. Vidas: Glue the parts together to make the paper sheets larger, and a real-size pedalboard can be assembled in six or twelve sheets of paper; and you can put them on the floor, right? Ausra: And if you will be able to play on such a pedalboard, then definitely you will be able to play a real one. Because this way is much harder! Vidas: Do you remember, Ausra, in our Unda Maris organ studio, we have a number of keyboards and pedalboards printed out. Ausra: Yes. Vidas: And some people do use them. And sometimes we even do coordinated, simultaneous practice, when one person plays on the real organ, and the rest of them play on the silent keyboards or paper sheets. Right? Ausra: Yes, it works very well. Vidas: They hear in their head what is sounding, but they all practice together at the same time, the same piece. Very very slowly, of course. Maybe not all of them are at the same level; maybe one is beginner level, another is intermediate level, so intermediate level organist would play all parts together, and beginner would play just one part alone, right? Ausra: Yes. So there are various solutions, actually, for a situation like this. You just have to explore your area and to check all the possibilities. And I hope that you will find a right solution for you. Vidas: And we hope to help you grow as an organist further; so please send us more of your questions, and simply reply to our messages that you are getting from this blog at www.organduo.lt as a subscriber. And remember, when you practice… Ausra: Miracles happen. Pieter van Dijk on Teaching Students at Master Classes and Recording Complete Organ Works of Bach9/3/2017 Welcome to Secrets of Organ Playing Podcast #110!
Today's guest is Pieter van Dijk who is City Organist, and organist of the Grote Sint Laurenskerk, in Alkmaar, the Netherlands, where he acts as custodian to two of the world’s most significant historic organs. As one of Europe’s most sought-after teachers, Van Dijk is Professor and Head of Organ Studies at the Conservatory of Amsterdam, a position he combines with a Professorship at the Hochschule für Musik und Theater in Hamburg. Together with Frank van Wijk, he is Artistic Director of Organ Festival Holland, which places the renowned Alkmaar instruments at the center of a prestigious international organ competition, organ academy and concert series. Pieter van Dijk was a pupil of Bert Matter at the Arnhem Conservatory, before going on to further his studies with Gustav Leonhardt, Marie-Claire Alain and Jan Raas. As a performer he was awarded prizes at international competitions in Deventer (1979) and Innsbruck (1986). His many recordings on historic organs throughout the Netherlands and beyond have included the Fugue State Films DVD ‘The Organs of the Laurenskerk’, which in 2013 was awarded the Preis der Deutsche Schallplattenkritik. In 2017 he commenced the recording of a complete Bach-cycle for DMP Records. Van Dijk’s research interests have led to the publication of articles about Weckmann, Sweelinck, Bach and the playing style of the great early 20th century German organist Karl Straube. He was one of the advisors behind the much-lauded reconstruction of the organ at the St Katharinenkirche in Hamburg, on which Bach famously performed in 1720. As a performer and jury member at international competitions, Pieter van Dijk has appeared throughout Europe as well as in the USA and Japan. You can also listen to my previous interview with Pieter van Dijk (SOP Podcast #22) from 2015. Pieter came to Vilnius to teach and perform at the Summer Organ Academy which my colleague Balys Vaitkus and his team organized. We met at the restaurant of his hotel and talked about his teaching and performing experiences at the Academy as well about his project to record complete organ works of J.S. Bach on significant historical instruments of Holland, Germany and Norway. Enjoy and share your comments below. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. And if you like it, please head over to iTunes and leave a rating and review. This helps to get this podcast in front of more organists who would find it helpful. Thanks for caring. Listen to the conversation Related Link: https://www.dmp-records.nl
Another message went straight to our Love Letters folder. It was sent by our former professor Pamela Ruiter-Feenstra, an exceptional expert on early music, generous teacher and brilliant improviser and creator, in response to #AskVidasAndAusra 55:
Dear Vidas and Ausra, The two of you are beautiful, generous, and brilliant! Thanks for making the world a better place. With love, Pamela Vidas: Let’s start Episode 61 of #AskVidasAndAusra podcast. And today’s question was sent by Adeniyi, who says that he has no organ mentor--that’s his challenge. And today we we’re going to try to help him out, right, Ausra? Ausra: Yes. Vidas: Can you practice organ and get better as an organist over time, if you have no teacher? Ausra: I think actually that you can. Maybe the progress will not be as fast as if you will have an organ mentor, but still it’s possible to achieve progress. Vidas: We have to make some difference between mentor and teacher, right? Ausra: Yes. Vidas: A mentor is a person who helps you without any financial reward/payment, and a teacher is, of course, a person who can do this for money. So as I understand, he might live in a country where there are neither teachers nor mentors at all--basically he’s on his own, right? Ausra: Well but today the world is so global, and it’s so easy to get access to the best mentors, actually, and best teachers; you just have to get online. YouTube is full of excellent recordings; you can get all kinds of resource books. So that’s a big help. It’s not like twenty years ago. Vidas: Even our little blog, www.organduo.lt, has thousands resources, right? And trainings, and coaching programs; and this blog is very extensive. I just looked--we started, when--at the end of 2011? So...And, we write every day. Ausra: Sure. Vidas: And that means that for more than 5 years in a row, we’ve published some kind of thing every day, written or audio or video. So that’s really thousands of great materials and useful exercises and advice and tips.. You just have to apply those tips in practice--that’s more important, right? Ausra: I think nowadays it’s not hard to find information as it is hard to select which of that information is useful and is the best. To limit your resources. Because otherwise you can just spend all your time just researching things and not doing actual work. Vidas: Do you think, Ausra, it’s better to randomly pick one training or resource and start applying it in your practice, or do you have to look deep at your needs first? Ausra: I think first of all you need to find out what you really need, what is your biggest problem or your largest concern, and then choose. Vidas: True. So Ausra, what’s the first step in order to discover your needs? Ausra: Well, it depends on what your goal actually is. Vidas: For example, if you want to play in church liturgical organ music. Obviously the first place to start would be the hymns. Ausra: The hymns,the hymn playing, yes definitely; if you’re a church organist that’s the most important thing, for a beginner. Later on you can get more into the repertoire, and to increase your knowledge in stylistic details; but the hymn playing is sort of the cornerstone of church organist. Vidas: And I’ve seen people progress through the ranks of organists just by playing hymns, because they can master the coordination between hands and feet at the basic level first with hymns, and then they can advance to the repertoire easily this way, too. Ausra: Sure. Vidas: And hymns are very fun to practice. Ausra: They are! And they are very good for sight-reading; it’s a very excellent source. Vidas: Exactly. If you, for example, choose 100 hymns and sight-read one hymn a day, in 100 days you will be a better sightreader. Ausra: Definitely, yes. Vidas: Great. So I guess, people should not despair if they have no teachers or mentors in their country available to them. They just have to look online: for example, start with our resources. And more important than a teacher is regular practice. Ausra: Yes, definitely, because even the best mentor or teacher will not play instead of you--you will still have to do all these steps yourself, to take them and to practice everyday. Nobody else can do it. Vidas: Have you had that experience in your teaching career, Ausra, where you had a student, and you give everything to that student, but they don’t do anything with that information? Ausra: Yes, I’ve had such disappointments, that’s true. But I had one excellent example when I was teaching for two semesters, one person. And actually she had a pretty good foundation--she was not majoring in organ, she was minoring in organ. And the first semester she would never listen what I was telling her to do, she would never do it. And you could not reach any result, or any result that I was expecting, from her. But later on, she somehow started, to follow what I’m saying, and started to do those steps, taking those steps, and practicing in that way as I suggested her to do; and the result was just fantastic. Vidas: So even though at first, she sort of, declined to apply your tips in her practice, later she started to trust you, more. So it’s important to trust your teacher if you have one. Because otherwise you’re wasting your time and your teacher’s time, too. Ausra: Yes, definitely. Vidas: Remember Ausra, sometimes people write to us messages that their current teacher tells them to do something differently than we advise, right? They have their own opinions, and the teacher is recommending to do one thing, and they are sort of hesitant to apply our tips in their practice because they trust their teacher first. Ausra: Well that’s okay, everybody has to decide for themselves what to do. Just always listen to what you’re doing because you ear is the best advisor. Vidas: And if you choose your teacher, please trust him or her and do what they tell you to do because otherwise, you’re not progressing into the right direction--and basically wasting your resources and your energy. Ausra: Sure. Vidas: Okay Ausra! I hope people will apply our tips in their practice--I hope people will trust our advice! And if, guys, you want more help, please subscribe to our blog at www.organduo.lt (if you haven’t done so already) and send us more of your questions. We love helping you grow as an organist. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Before we recorded yesterday's portion of our podcast conversation, Ausra and I had a big smile on our faces - Minori wrote a kind note to us:
Thank you for #AskVidasAndAusra 58! I do appreciate your advice, which, I am sure, suggest the best solution and help me to tackle my struggle! What is most enlightening (and what I have failed to pay attention to so far) is the fact that you cannot play everything on every single instrument and that you need to pick the right music for the right instrument. Organ playing begins when you select the repertoire for the instrument, not when you sit on the organ bench... I will keep your advice in mind so that I feel more comfortable and confident when I encounter a new instrument. And thank you for another great advice, "Every tenth instrument" principle, which encourages me to keep trying overcome my struggle. I will take every opportunity to play on as many instrument as possible in Japan (to begin with) and overseas (if conditions permit)!" These type of messages go into our special Love Letters folder because it shows that we are helping real people. So anyway, now let's go to the podcast for the day. Vidas: We’re starting Episode No. 60 of #AskVidasAndAusra podcast. And today’s question was sent by Minori. He writes that he has a small physique: “My height is 155 cm; small hands (I reach an octave, but not beyond); I have difficulty in maintaining postural stability while playing organ works with pedal part (perhaps because of poor muscle strength). I am always wondering what kind of exercise would improve my postural stability while playing the organ.” So Ausra, you are well-equipped to answer this question, because you are a little bit taller, I would say, but not too tall. Ausra: Well, yes, I’m 162 cm high, so just a little bit higher than Minori is, but still not as high as I wish to be. But actually, at first I can suggest what he could do about strengthening his muscles. So, I just found a year ago the so-called Pilates system of exercise, and actually it helped me a lot, to strengthen the whole body, to strengthen my muscles. And since I started to do Pilates, I have never had any trouble with my back anymore. And I can sit and practice on the organ very easily. Vidas: Yes, it’s very good for recovery after illnesses, after stress, after injuries, and it’s a low-stress exercise, basically. You can have muscle fatigue after that, but not necessarily--sometimes you even feel refreshed. Like after yoga, but the difference between yoga and Pilates is that you move quicker in Pilates. Ausra: Yes, and you know, for me, for example, it’s hard to do yoga because I don’t have such a slow character. It’s hard for me to focus while doing yoga; but in Pilates, you just keep moving all the time. But it’s not like a very fast movement as it is in some other kinds of sports; but it’s sort of well-balanced between motion and breathing. So it’s very good. I suggest, really, every organist to try it. Maybe you will not like it, you never know, but I have learned a lot from these exercises. Vidas: Somehow it’s not very popular with men, right? In Lithuania... Ausra: Well, it’s actually too bad. I think it would be very good for both genders. It’s very useful. Vidas: What about breathing? Is Pilates helpful for developing your breathing, and focusing too? Ausra: Sure, you have to learn how to breathe correctly in order to do those exercises; breathing is very important. So then, it helps you too, because knowing how to breathe well, you can use that while sitting on the organ bench, especially during performances, or before performances. And that short height… I know, it might be a problem when you have to reach for example the fourth manual and reach pedals at the same time, but you can get used to it. Sometimes maybe you have to adjust the height of the bench; sometimes maybe don’t use the upper keyboard; but still, you can do it. I think it might be even easier to adjust while being just, 155 cm high, than to be 2 meters and 20 cm high! Vidas: Exactly. To reach with your short legs the extreme edges on the pedalboard is easier than being extremely tall, and trying to tense your leg muscles and abdominal muscles all the time when you sit on a lower organ bench. Ausra: And also, you have to choose your repertoire wisely; because definitely there is some kind of music that I would not suggest Minoru to play. It might be too hard; because he reaches only an octave with his hands, so that means that some pieces by César Franck, or some pieces by Max Reger would be unreachable. Vidas: Late Romantic… Ausra: Late Romantic, yes. When you choose new music, maybe just sight-read it and look if the intervals are not too wide in the hands. For example, such pieces as Franck’s “Prière”--which is a beautiful piece--I would never play it myself, because I might hurt my hands, not being able to reach those intervals. And when I looked at pictures of Franck, actually I saw that his hands were just enormous! So that’s why he composed pieces like this. Vidas: He could reach a tenth, probably. Ausra: I think easily, if not more. Vidas: So guys, if you are struggling with adjusting to the organ because of small physique, I think yes, you could strengthen your muscles and tone your muscles with some kind of exercise system. Do you think, Ausra, that martial arts would help Minori? Ausra: I don’t know how he feels about martial arts. It might help but I think it’s more for focusing your mind, maybe. But I practiced karate for one year, back in the States. And it was good, but I find Pilates much more useful, at least for my nature. And also, you need to find, the pieces which will be your strength; for example, mine is with trio texture, which is the best texture where I feel very comfortable, where I have three different voices and they are all on an equal difficulty. And that way, because I am sort of small, I can move very easily on the organ and feel comfortable with it; I don’t hurt my hands, and my feet while playing, for example, a trio sonata by J.S. Bach. Vidas: You mentioned earlier karate and martial arts, how they helped focusing and mind strength; it’s the same with Pilates too. Pilates also develops your focus, too, because you can focus on your breath. Ausra: Yes, and Pilates is very good for your back. I know organists very often have back pain. Vidas: Because of slipping? Ausra: Yes. Because of slipping, and because of playing pedals. It’s not that easy, but it’s very good for your back. Vidas: Okay, so Pilates would help; playing pieces with thinner textures, like trio textures, or early music, probably? Ausra: Yes. Vidas: What about improvisation, Ausra? You would think that when a person improvises, he or she could really play whatever is comfortable for his or her physique, right? Ausra: Yes, that’s true, but it’s actually your strength, improvisation; so maybe you can tell us more about it. Vidas: Well, it’s very simple. Because when I improvise, I never play something I cannot play, right? I play something which I can do. Of course there are challenges, and things I’ve never tried; and I push myself a little bit further each time. But those things that Ausra was talking about--reaching an interval of a tenth or more, or playing in extreme edges of the pedalboard--it’s not really necessary when you improvise. You can do all kinds of things without that. Ausra: Yeah. Vidas: Wonderful. Please, guys, send us your questions; we love helping you grow. And you can do this by subscribing to our blog at www.organduo.lt if you haven’t done so already, and simply replying to any of our messages. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Francine Nguyen-Savaria on Independence of Voices, Performance Anxiety And Managing Time Constraints8/27/2017 Welcome to Secrets of Organ Playing Podcast #109!
Today's guest is a Canadian organist Francine Nguyen-Savaria. She entered the piano class of the Conservatoire de musique de Montréal at the age of sixteen. Two years later, she entered the organ class, studying under Jean Le Buis. She graduated from the Conservatory in May 2011. Francine is the recipient of many prizes and scholarships, which have allowed her to participate in the Mount Royal College Organ Academy in Calgary, Canada, and in organ courses, studying with Jean Galard in Paris and Cherry Rhodes in Los Angeles. She completed her graduate studies at the University of Southern California in December 2013. Awards include the John Goss Memorial Scholarship from the Royal Canadian College of Organists and the Irene E. Robertson Music Scholarship from the USC Thornton School of Music. She recently performed the complete organ work of Johannes Brahms at the Calgary Organ Festival and Symposium. She also played with the Calgary Civic Symphony for the same festival. She has also given recitals at venues including the Saint Joseph Oratory in Montreal, the Cathedral of Our Lady of the Angels in Los Angeles, and the Cathedral Center of Saint Paul (Episcopal) in Los Angeles. Francine has been music director for Saint Ambrose Episcopal Church in Claremont, CA. She now lives with her husband in Belleville and they both serve as directors of music for Saint Thomas' Anglican Church. In this conversation, Francine shares her insights of how to overcome such challenges as dealing with independence of voices, performance anxiety and managing time constraints. Enjoy and share your comments below. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. And if you like it, please head over to iTunes and leave a rating and review. This helps to get this podcast in front of more organists who would find it helpful. Thanks for caring. Listen to the conversation Related Link: www.duopergulae.com
Vidas: Let’s start Episode 56 of #AskVidasAndAusra podcast. This question was sent by Morton, and he writes:
“Greetings, Vidas, I really as so happy that you are able to send transcripts of your podcasts. I feel that these transcripts make all the difference in the world for your subscribers. In this transcript, you mention the phrase "easier toccatas." In a future podcast, would you please introduce us to some of the *easier* toccatas? In my case, I learned to play the Toccata from Suite Gothique by Boellmann when I was about 16 - and when I practiced after school five days a week and also played most of our church's 9:30 AM services (except for the offertory anthem). A few years ago I was able to bring that Toccata back to life... I'm looking forward to a podcast transcript in which you mention some of the easier toccatas. Best wishes, Morton” Okay, so this question is about toccatas. What would you recommend, for starters, Ausra? Ausra: Well, I think that the Toccata, Boëllmann’s Toccata from Suite Gothique is a fairly good example of easy toccatas. Vidas: Usually people start with Boëllmann, I would say. Ausra: Well, yes, I know so many cases where people started with this toccata. Because it really fits hands comfortably and it’s not too complicated. Vidas: It has maybe these famous double-pedal passages at the end, but it’s not too difficult. Ausra: Well, it’s not so hard, I think. Vidas: Because it’s in parallel octave motion. Ausra: Yes. What would you suggest as other easy toccatas? Vidas: Obviously Gigout Toccata. It’s also not too complex. You don’t have to play it too fast. You can choose your comfortable speed. And the pedal line is not too complex; usually in French toccatas, coordination between hands and feet is not too difficult because there is not too many things going on together at the same time. Ausra: Sure. Vidas: In French toccatas, often there is this famous toccata motion in the hands, motoric motion in the fingers; and then there is one melodic line, either in the pedals or in the soprano (which you play with your little pinky or the ring finger in the right hand), or sometimes in the tenor on the separate manual. So it alternates. Do you think that sometimes composers write counterpoint, like a parallel contrasting melody with the theme, like a dialogue between the theme and the countersubject? Ausra: Yes I think so, that’s often the case. Vidas: So that’s more complex, then. Ausra: Yes, definitely, and while we are comparing different toccatas, I would say Bach’s toccatas are very hard, or at least much harder than those toccatas which you talked about. Vidas: Yes. The term toccata is very old. It’s not originated with the French symphonic repertoire, of course, but it comes from Italian word called... Ausra: Toccare. Vidas: Toccare. And it means… Ausra: To touch. Vidas: So it is a term which describes a piece specifically for keyboard instruments. “To touch the keyboard,” basically. So, in early Baroque times, Gabrieli, Merula, and Frescobaldi and others--they all wrote toccatas. So sometimes, they were improvisation-based pieces; but later on, they started to add imitative sections, like in the fugue, but there were no fugues in that time. So they would call them differently. What was the precursor of the fugue in those days? Ausra: Ricercar, and canzona, of course. Vidas: Mhm. So, those sections between the free improvisatory toccata passages were like ricercars. Ausra: Sure. And what is the easiest and the hardest toccata that you have played, Vidas? Vidas: The easiest was probably by Boëllmann. Or maybe by myself. I wrote a few toccatas, too. I wrote a toccata on themes by Mikalojus Konstantinas Čiurlionis back in 2011. I first improvised this piece in the concert during a live performance at the Philharmonic hall in Vilnius, Lithuania, and later came back and wrote down and expanded and polished the written-out version. So it’s not a difficult piece, but it has this toccata-like figurations and a nice chorale section in the middle. (I don’t have to say nice, right? Other people have to say nice.) Ausra: Yes, and what is the hardest toccata? Vidas: And the hardest toccata probably is by Maurice Duruflé. Ausra: Oh, I’ve thought about it, too. Vidas: Maurice Duruflé, from the Suite op. 5. Ausra: Yes, I think it’s the op. 5. Vidas: Yes, so the prelude for the suite is not too difficult, dark mood, and long, prelude in slow motion; and then the sicilienne, the second movement, is like a dance, rocking rhythm, back and forth, but not too difficult, too. But then the toccata comes, and that’s a challenging piece. What about “Dieu Parmi Nous” by Messiaen? Is it difficult? Ausra: Well, it is difficult… Vidas: But easier than Duruflé. Ausra: Yes, I think so, it’s easier than Duruflé. Vidas: So, other French composers also have wrote other toccatas. Ausra: Like the most famous, probably, one by Widor. Vidas: Widor toccata...Like every symphony by the French composers must end in a finale; and finales, a lot of times have toccata-like motoric motion, right? Ausra: Sure, like the last movement of Vierne’s First Symphony or the Third, I had played finale; I actually played the whole symphony, the Third Symphony by Louis Vierne; and it wasn’t so hard, but it always sounds very nice and grand. Vidas: What about, what was your least difficult--the easiest toccata, for you? Ausra: Hmm...Maybe by Frescobaldi. And actually, the easiest toccatas to play are toccatas per l’elevatione. But of course, it’s a different genre than the regular toccata. Vidas: Yeah, no fast motion, no virtuoso passages at all. That was another occasion for elevation section of the mass. So you would not play very fast there. Ausra: Yes. Vidas: And what about the most challenging toccata for you? Ausra: Well, let me think about it. Vidas: You asked me this question, so I give it back to you! Ausra: I don’t know, at one point it probably was Toccata, Adagio and Fugue in C-Major by J. S. Bach. Vidas: Right. Ausra: It’s quite challenging, not because it’s technically so difficult, but it has all those various episodes, and to put them together like, grand opening of the hands, and then you have pedal solo, and then all things together...That’s a nice piece but it has its hard things. Vidas: Exactly. To play toccata alone is not too difficult, but when you play it with the fugue--Toccata Adagio and Fugue--as a cycle, then it’s challenging enough. Ausra: Yes, because that fugue has that fast tempo, and it’s a dance fugue, so it’s not easy. Vidas: So guys, start with Boëllmann, I would say, then go to Gigout; Dubois, it’s probably also doable, too. So three toccatas, right? For starters. Easy toccatas. And then, if you like more French stuff, then you can… Ausra: Play Widor! Vidas: Play Widor, yeah. But then you need a good manual technique for that. Ausra: But it’s also nice thing about practicing French toccatas--that you can do much of your work on the piano, if you have a piano at home; because it fits so nice to piano keyboard. And that’s a very good way to practice, as you know; and then later you will add the pedals when you will have access to the organ. Vidas: So guys, I hope this was useful to you; and remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 55 - My struggle is bringing pieces I learned many years ago back to life again8/25/2017
Vidas: Let’s start Episode 55 of #AskVidasAndAusra podcast. This question was sent by Morton, and he writes:
“Dear Vidas, recently more people have wanted to practice on the organ in the chapel that I practice on. It is a 3 manual Johannus, and it is just fine for me. We are asked to sign up in advance for no more than four hours a week - I usually sign for two hours on two separate days. Naturally if no one has signed up, I guess anyone can practice during that time. During the first semester a number of sections of a university required class have to visit the chapel during one week. That means that the time available to those of us who want to practice is more limited. We don't have that problem the second semester, - at least so far.” And here is the question that Morton is writing about: “My struggle is bringing pieces I learned many years ago back to life again. Why didn't I keep them up? Because previously I didn't have a 32-note pedalboard for a number of years at my disposal - and I had no opportunity to play JSB's Prelude and Fugue in D (which I've brought back to life somewhat), his Prelude and Fugue in G Minor (which is not played often) and the first Chorale Prelude from the 18 Great Chorale Preludes.” This is a sophisticated piece-- Ausra: Yes! Vidas: On a chorale fantasia called, “Komm, heiliger Geist” by Bach, from the Leipzig collection, right? Anyway, he writes further: “I was able, however, to bring back to life, for example, the Toccata from Boellmann's Suite Gothique. I was able to bring back a JSB Prelude and Fugue in C that is never played but which is not too difficult. I was able to bring back a JSB Prelude in G Major (there is no fugue with it - it is found in a Concordia Wedding Book collection)” So, Ausra, Morton is struggling with bringing pieces up to speed from many years ago. Ausra: Well, that’s a common struggle. He told in his letter that actually, some of his pieces, he was able to manage quite well, to recollect quite easily, because they were easier pieces. With other pieces, of course, it’s much harder to regain the skills. Vidas: Ausra, have you played--recently, maybe, from recent years--a piece from your early days, from your student life, which you maybe mastered in the Academy of Music in Lithuania or even in America? Ausra: Well, yes, definitely. Vidas: What was the piece? Ausra: Well, the last piece, I think, was E-flat Major Prelude and Fugue by J.S. Bach from Clavierubung III. Vidas: And you played it many years ago? Ausra: Well, not too many years ago, but yes, that was my piece from my last doctoral recital. So it was some eleven years ago. Vidas: In Nebraska. Ausra: Yeah. Vidas: So I remember this moment, when you first opened this piece here at home, and you were rather worried, how it would come out, the first time. Ausra: Well because, it’s a long piece--this was my biggest worry. Vidas: And how it turned out? How long did it take you to get back to the previous skills, with this piece? Ausra: Well, about a month, actually. Vidas: How long did it take for you to learn, to master this piece eleven years ago? Ausra: Haha, I think I learned it faster than I had repeated it! Vidas: Yeah, it was like, like a marathon. Ausra: Because I know that I learned the text of all that part of Clavierubung in a month. But that time I was young and diligent. Vidas: And now, you are not young anymore, but still diligent? Ausra: Well, I don’t have so much time to practice as I did in those days. Vidas: So for Morton, it’s the same situation as for you, right? It will take probably a month for him to get back to this previous skills--with one piece, not with a lot of pieces, just one. Ausra: Sure. I would suggest, in general for all the organists: when you learn your piece, and you like it, and you know that in the future you might want to repeat it and perform it again. So time after time, just play it through, sometimes. That way, you will keep in shape and when you will want to perform it again, it will be much easier for you to do it. Vidas: Occasionally. Once a month. Ausra: Maybe once a month, or every other month. Vidas: It’s like sight-reading, basically, but an old piece. Ausra: Sure. Vidas: Just play it once, and put it away for a number of months. And practice something else, and then come back--and this piece will be there, waiting. Ausra: Yes, definitely. Vidas: But I’m practicing now, a few pieces, also, from my previous years; and for the fall semester, it will be also a challenge to regain my skills, with maybe D Major Prelude and Fugue by Bach, BWV 532. And I’m not still positive about that. Ausra: Hahaha. Vidas: But it’s one of the options. So yes, I will also take about a month to refresh my skills. Ausra: That’s a funny piece, especially the opening of it. Very fun to play the pedal part. Vidas: Yes. Ausra: Have fun and good luck with it! Vidas: I would say the fugue is more complicated than the prelude. For me. Ausra: It is, but--I don’t know if I have ever played that opening nicely. It would just give me some sort of spasms. I don’t know why! Vidas: Maybe the pedaling sometimes is complicated--if you try to play legato, and you play heel-toe, heel-toe, this way, then it is complicated; but if you use the alternate toe, pedaling is no problem. Ausra: Well, I don’t really know. I practiced this piece while I was studying with Pamela Ruiter-Feenstra at EMU, and definitely I only used my toes, because, Pamela is such a great specialist of early music. But it still was not so easy, probably because the tempo was too fast. Vidas: Mhmm. So wish me luck in repeating this piece! Ausra: Yes, good luck. Vidas: And for other people who are repeating any other pieces in your repertoire, from a decade ago, or maybe more years ago, try to spend some quality time with this piece--maybe thirty minutes a day for a month, and you will soon enough discover that your skills will come back in this piece, too. Ausra: Yes. Vidas: Thanks guys, and send us more of your questions, because we love helping you grow as an organist. And don’t forget to subscribe to our blog, and reply to our messages. When you come back--when you reply to us, we will be glad to help you out. So the blog is at www.organduo.lt, and you simply enter your name and email address (and you can specify the delivery, when you would like to get those messages delivered: every day, or once a week, you can choose). Okay! Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
First, good news - our 3rd e-book is finally ready:
"I Have Forgotten the Basics" (And Other Answers From #AskVidasAndAusra Podcast, Vol. 3) It's free for Total Organist students and everyone else can get it for a low introductory price of $4.99 until August 30. When you read it, please let us know what is #1 advice you will apply in your organ practice this week. And now let's go to the podcast. Vidas: Let’s start now Episode 54 of #AskVidasAndAusra podcast. And today’s question was sent by Morton, and he is struggling with Guilmant’s prelude based on the hymn “Thine is the Glory,” which is the paraphrase of a chorus in Judas Maccabeus. He writes: “I really hope to get that up to standard by Eastertide of 2018. My "struggle" is with certain places where I have to coordinate my hands and feet together... The good news is that I have brought the following up to performance level for Eastertide, in case I'm asked to play a few selections at the chapel's Spring musicale: Charles Callahan. An Easter Site II. An Easter Meditation. Martin Gaskell - The Strife is Oe'r. Prof. Gaskell has a youtube web site, and you may get in touch with him there and also listen/view recordings of some of his compositions. I'm working on JSB's - arrangement by Virgil Fox Now Thank We All Our God. Still a long way to go, but at least it is coming together. I would like to learn Jose Lidon's Sonata on the First Tone but the problem is with fingering, and perhaps trying to learn too much too fast! I found one free edition on line with some fingering. Some fingering for me is better than no fingering but it would have been nice to have a bit more fingering.” So, an interesting question, right, Ausra? Long, but basically we can subdivide it into two parts. Morton is struggling with coordination of hands and feet, and the second part is with fingering. Ausra: Sure. Very common problem, shared by many organists. So, when talking about coordination, I think the best way to improve it would be to practice in different combinations, and not trying to put all things together at once. It will save you time eventually. It might not seem like this when you will start to practice, but definitely it will save you time. What do you think about that, Vidas? Vidas: I agree with you, and I also think that from the pieces--list of pieces that Morton has listed here, he is practicing quite a few compositions, maybe too many at the moment. Ausra: Could be, this could be a problem, too. Vidas: How many pieces can a person comfortably practice during one practice session--what’s your opinion? Ausra: Well, it depends on what kind of pieces, basically; but if it’s a long piece, I would suggest to practice it alone, during one practice session. Otherwise, I’m not imagining it is a productive practice time. What do you think about it? Vidas: So you’re basically suggesting to practice one episode of one piece and then having a break. Ausra: Yes. Vidas: And then coming back and doing something else. Ausra: Yes, sure. Vidas: With another piece. So, exactly. And since we always recommend having a break, every thirty minutes or so, so then you should maybe divide your practice time accordingly: if you have two hours a day, so maybe you can practice four pieces --maybe spend thirty minutes on each piece. Or, if you have just one hour, maybe two pieces will be enough. Is that a good idea, Ausra? Ausra: I think it is a good idea. Because, especially when we’re young, we can practice for many hours, and don’t take breaks at all; but later, it will injure you, your health--your body, actually, for practicing so many hours without a break! Vidas: Right. Ausra: So you better, exercise in between your practice. Vidas: So, this famous Pomodoro Technique, where you practice or do something very focused for twenty-five minutes, and then have a five-minute break, is very useful, right? You can simply exercise, drink a glass of water, take a walk, stretch, during this break; and then come back to practice for twenty-five minutes more on another fragment, in another piece, maybe. Ausra: I think that’s a good idea. Vidas: So, going back to Morton’s question about coordination: as you suggest, it’s really wise to spend a considerable amount of time with combinations in separate voices. Ausra: Yes. Vidas: Don’t go to another combination unless you can play--without mistakes, fluently, three times in a row--the current one. Ausra: Sure, because, for example, if you are playing, you know, a hard spot only with your left hand and feet, and you still struggle with it, definitely if you will add the right hand, you will not be able to play it correctly. So just be honest with yourself. Vidas: And don’t try to rush; there’s no point of rushing. I think you have to enjoy the process and not necessarily the result. Don’t be anxious to get the result too fast. Ausra: Well, if you will practice right, the results will be good, I believe. Vidas: Every day you will get better--you will notice that. Ausra: Yes. Vidas: And that’s the biggest joy, I think. Ausra: Sure. Vidas: Wonderful. And going back to fingering portion of the question--Ausra, is there a way for him to get the fingering easier, if the piece is not fingered enough? For example, if he’s practicing José Lidón‘s “Sonata on the First Tone”--so, he would like to have some fingering, right? Maybe we could do a score with fingering for him, too. But if there is no score with fingering, what should he do? Ausra: Well, he could write down his own fingering, actually, I think, especially the hard spots. Maybe not the entire piece, but those hard episodes. Vidas: Exactly. Ausra: This would help. Otherwise, also writing down fingering will save you a lot of time. Because if you practice without any fingering written down, it means that every time you will play the same spot with different fingering, and it will slow down your process of learning. Vidas: Exactly. So guys, we hope that this has been useful to you, and please send more of your questions, and you can do that by subscribing to our blog at www.organduo.lt (if you haven’t done so already) and simply by replying to any of our messages. We would love to help you grow as an organist. Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: 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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