Wunderschöne Aufführung dieses perfekt komponierten Meisterwerks im angemessenen Tempo mit durchsichtigen doch zugleich warmherzigen Tönen der historischen und ausgezeichneten Orgel und mit perfekt kontrollierter Dynamik. Wahrlich intelligenter und genialer Organist!
Another very effective interpretation of this piece is to play the entire thing on a big, Organo Pleno, toccata-style registration: beginning with manual (16') - 2' Principal chorus + Mixture(s) and pedal 32' Subbass/Untersatz, with Reeds 16' and 8' with pedal Principal chorus to mixture; later adding manual Reeds 16' & 8' + Scharf/Zimbel, plus pedal Reed 32' toward the conclusion... along with the Zimbelstern, of course. 💥💥💥
Is this for manuals only (which is totally fine), or what was going on with the pedal there? From what I was able to see of the score, it looks like it's for manuals only...
In this piece there is a pedal part, but in Theo Jellema's edition there is no separate stave for the pedal part. This edition adheres to Bach's manuscripts. Indee, din the manuscripts, all organ works are on two staves. If pedal is used, it is indicated by 'P', 'Ped' or 'con Pedale'.
@@bach , Thank you for the reply and clarification! I should already know this! I was actually looking at Bach's manuscript of one of his many organ settings of "In Dulci Jubilo" (the one where he sets the tune as a canon against itself. I forget the BWV#) recently, and I did notice that he had written it on just two staves, as opposed to the three staves as is common practice today. However, I still have so many questions about how/when to use pedal in the works of earlier composers such as Sweelinck, Scheidt, etc.!😂 Again, thank you!
thank you Theo Jellema for all your beuatifull handy- and footwork! But people at bachs time had all those mighty words in their head and mouth, while the vorspiele where played. we have not! why dont your video-people from the netherland bach society do the obvious: underlay the music, syllable by syllable with the appropriate words! Then the understanding starts for organist and congregation. we dont need to see all the fingers and feet : we need the words!
Oh no! Please NBS, don't! I am perfectly happy with the music only. I can find the lyrics elsewhere , if I need them. Gerhard Rohne, here's for you: 1. How brightly beams the Morning Star! What sudden radiance from afar Doth glad us with its shining, Brightness of God that breaks our night And fills the darken'd souls with light Who long for truth were pining! Thy Word, Jesu, only feeds us, Rightly leads us, Life bestowing; Praise, oh praise such love o'erflowing. 2. Thou here my Comfort, there my Crown, Thou King of Heaven, who camest down To dwell as man beside me; My heart doth praise Thee o'er and o'er, If Thou art mine I ask no more, Be wealth or fame denied me; Thee I seek now; None who proves Thee, None who loves Thee Finds Thee fail him; Lord of life, Thy powers avail him! 3. Through Thee alone can I be blest, Then deep be on my heart imprest The love that Thou hast borne me; So make it ready to fulfil With burning zeal Thy holy will, Though men may vex or scorn me; Saviour, let me Never lose Thee, For I choose Thee, Thirst to know Thee; All I am and have I owe Thee! 4. O God, our Father far above, Thee too I Praise, for all the love Thou in Thy Son dost give me! In Him am I made one with Thee, My Brother and my Friend is He; Shall aught affright or grieve me? He is Greatest, Best, and Highest, Ever nighest To the weakest; Fear no foes, if Him thou seekest! 5. O praise to Him who come to save, Who conquer'd death and burst the grave; Each day new praise resoundeth To Him the Lamb who once was slain, The Friend whom none shall trust in vain, Whose grace for aye aboundeth; Sing, ye Heavens, Tell the story Of His glory, Till His praises Flood with light Earth's darkest places. (Translator: Catherine Winkworth, 1863)
Thank you, i know the text, even in german. What we need from these videopeople is not always to see the finger- and footwork, but with the notes to see the original text word by word, not by note. Many things and theological meanings would become evident immediatly...
Late 17th- and 18th-century German organs tended to be pitched roughly a half-step higher than modern concert pitch (A=440hz). And (if this is part of what you're hearing) they were never tuned in the equal temperament we hear on modern pianos. Wind instruments tended to be pitched about a half-step lower than modern concert pitch. So, for instance, with Bach's Leipzig cantatas, his organ part was notated a step higher than the instrumental and vocal parts (e.g. a chorus in F major for the singers and instruments would have an organ part written in G major). Hope this helps.
@@mwnyc3976 Thank you. I can't hear the differences in pitch (to some extent), but what shocked me was the tuning. This could be the result of an old temperament, but for Bach, IMO, it should be equal, because of the type of modulated music he used to compose.
*Please note: this is an improved version of an earlier release. The title has been corrected.
Wunderschöne Aufführung dieses perfekt komponierten Meisterwerks im angemessenen Tempo mit durchsichtigen doch zugleich warmherzigen Tönen der historischen und ausgezeichneten Orgel und mit perfekt kontrollierter Dynamik. Wahrlich intelligenter und genialer Organist!
magnificent instrument, music, organist, ambience, recording quality. thank you.
Real music for our souls...thank you for sharing🌿🎶
Thank you Nederlands Bach Society!
So beautifully played🍃thank you
Musique céleste, pleine de douceur, de quiétude, de joie indicible, qui nous caresse l'âme aussi bien que
les oreilles
Superb!
I love the way Bach inserts such cromatic notes... i.e. from 1:05 to 1:15
Magistral interpretación.
Beautiful/ hermoso
NBS! Bravo and Thanks!
Bach, the best thing in life! 🌹😍
Interpretazione stupenda, bravissimo interprete
Such efficient fingerwork.
Wonderful!
Love the Organ Case ^_^
Thanks NBS.
Truly a beautiful masterpiece! 😊
Bach is the only reason why I keep on living.
What about Cheese sandwhiches?
One of them, yes ...
@@tmnvanderberg lactose and gluten intolerant
Восхитительно
SUPER:-*
Another very effective interpretation of this piece is to play the entire thing on a big, Organo Pleno, toccata-style registration: beginning with manual (16') - 2' Principal chorus + Mixture(s) and pedal 32' Subbass/Untersatz, with Reeds 16' and 8' with pedal Principal chorus to mixture; later adding manual Reeds 16' & 8' + Scharf/Zimbel, plus pedal Reed 32' toward the conclusion... along with the Zimbelstern, of course. 💥💥💥
cool
I would not be able to play this very organ, because it's one halfnote to high. Why is that?
I think it’s the tuning, but organs one semitone too low/too high annoy me.
Is this for manuals only (which is totally fine), or what was going on with the pedal there? From what I was able to see of the score, it looks like it's for manuals only...
In this piece there is a pedal part, but in Theo Jellema's edition there is no separate stave for the pedal part. This edition adheres to Bach's manuscripts. Indee, din the manuscripts, all organ works are on two staves. If pedal is used, it is indicated by 'P', 'Ped' or 'con Pedale'.
@@bach , Thank you for the reply and clarification! I should already know this! I was actually looking at Bach's manuscript of one of his many organ settings of "In Dulci Jubilo" (the one where he sets the tune as a canon against itself. I forget the BWV#) recently, and I did notice that he had written it on just two staves, as opposed to the three staves as is common practice today. However, I still have so many questions about how/when to use pedal in the works of earlier composers such as Sweelinck, Scheidt, etc.!😂 Again, thank you!
Suesenuaikistdasbestewasnanbekommenkann
thank you Theo Jellema for all your beuatifull handy- and footwork! But people at bachs time had all those mighty words in their head and mouth, while the vorspiele where played. we have not! why dont your video-people from the netherland bach society do the obvious: underlay the music, syllable by syllable with the appropriate words! Then the understanding starts for organist and congregation. we dont need to see all the fingers and feet : we need the words!
Agreed. Meanwhile, here's a start:
(Translation by William Mercer, 1811 - 1873)
Oh no! Please NBS, don't! I am perfectly happy with the music only. I can find the lyrics elsewhere , if I need them. Gerhard Rohne, here's for you:
1. How brightly beams the Morning Star!
What sudden radiance from afar
Doth glad us with its shining,
Brightness of God that breaks our night
And fills the darken'd souls with light
Who long for truth were pining!
Thy Word, Jesu, only feeds us,
Rightly leads us,
Life bestowing;
Praise, oh praise such love o'erflowing.
2. Thou here my Comfort, there my Crown,
Thou King of Heaven, who camest down
To dwell as man beside me;
My heart doth praise Thee o'er and o'er,
If Thou art mine I ask no more,
Be wealth or fame denied me;
Thee I seek now; None who proves Thee,
None who loves Thee
Finds Thee fail him;
Lord of life, Thy powers avail him!
3. Through Thee alone can I be blest,
Then deep be on my heart imprest
The love that Thou hast borne me;
So make it ready to fulfil
With burning zeal Thy holy will,
Though men may vex or scorn me;
Saviour, let me Never lose Thee,
For I choose Thee,
Thirst to know Thee;
All I am and have I owe Thee!
4. O God, our Father far above,
Thee too I Praise, for all the love
Thou in Thy Son dost give me!
In Him am I made one with Thee,
My Brother and my Friend is He;
Shall aught affright or grieve me?
He is Greatest, Best, and Highest,
Ever nighest
To the weakest;
Fear no foes, if Him thou seekest!
5. O praise to Him who come to save,
Who conquer'd death and burst the grave;
Each day new praise resoundeth
To Him the Lamb who once was slain,
The Friend whom none shall trust in vain,
Whose grace for aye aboundeth;
Sing, ye Heavens, Tell the story
Of His glory,
Till His praises
Flood with light Earth's darkest places.
(Translator: Catherine Winkworth, 1863)
Thank you, i know the text, even in german. What we need from these videopeople is not always to see the finger- and footwork, but with the notes to see the original text word by word, not by note. Many things and theological meanings would become evident immediatly...
I found the tuning of the organ a bit odd ...
Baroque tuning
Late 17th- and 18th-century German organs tended to be pitched roughly a half-step higher than modern concert pitch (A=440hz). And (if this is part of what you're hearing) they were never tuned in the equal temperament we hear on modern pianos.
Wind instruments tended to be pitched about a half-step lower than modern concert pitch. So, for instance, with Bach's Leipzig cantatas, his organ part was notated a step higher than the instrumental and vocal parts (e.g. a chorus in F major for the singers and instruments would have an organ part written in G major).
Hope this helps.
@@mwnyc3976 Thank you. I can't hear the differences in pitch (to some extent), but what shocked me was the tuning. This could be the result of an old temperament, but for Bach, IMO, it should be equal, because of the type of modulated music he used to compose.