I just rewatched this and amazing content and discussion aside, I am in STITCHES with your delivery of the V Fox skits… you are a genius! I love your thoughtful discussion of appropriate recital programming. The best ones have a story to draw the audience along as you describe. A truly wonderful series Ben, keep it up!!!
Another great upload, Ben. As I've said before, you are always very engaging, witty and informative; clearly, too, you understand your respective audiences - and their tolerance/interest levels! Your pupils/students are very lucky to have you as a teacher! (I'll avoid any 'socks' v 'shoes' reference, this time!) Take care and best wishes. Tony, Cheshire.
I just subbed your channel. Having spent the last 66 years on planet Earth and then stumbling onto your site, harkened me back to the many ECTs I had in my mid-30s. (And I thought I was a renaissance man.) Rochester, NY (Eastman country) is my hangout and you must come see what WE have to contribute to the organ world. You have a great talent which might be better served on the late night circuit( à la Virgil Fox). See ya!
What really makes a good organ recital/concert is when you play from your heart and soul into it and be more confident about yourself. I too do organ concerts/recitals or any concerts/recitals and I know what I'm talking about. If people will understand the effort it takes on a recital/concert, there will be a lot of positive comments. This is a good video tip. Love it.
Nice to hear from you again Ben: brilliant advice. I think a broad range of music is vital as is a player who will engage with the audience and speak a little about the music at the beginning. My problem is nerves. I have never given a public concert and have had to turn down requests to assist at church because of this :(
I enjoyed this episode very much, that's a very interesting topic. I usually think my programmes carefully. I always try to include some rare music (like contemporary or forgotten local composers) along with some easy stuff, and it works pretty well.
Ben, that was very entertaining and of much help to professionals, I'm sure. I had no idea that the Flentrop could produce such a massive sound. As for you being your audience...that was amusing. Thanks for the info about the cancelled Vierne 150, I'll try and remember to let Caroline know. Looking forward to October.
Thanks Ben; some great tips here. I must admit that I'd never given a great deal of consideration to the key relationships between the pieces, but I will from now on.
@@bloorganist Yeah; I'm going to have a look at some recital programmes by other organists to see if key relationships is something they'd factored in.
Glad to be introduced to you Ben via Richard McVeigh, I’ll look forward to listening to you, nice to see someone who is a bit different! All best, John
Informative and at the same time entertaining video. Those of us who worry enough about being able to play the right notes at the right time and in the right sequence of course know close to little about the worries and concerns the professionals deal with in devising recital programmes 😀 So it is interesting to hear your thoughts and ideas on that subject. I'd also say that one should not perhaps be afraid to play lesser well know repertoire. There sometimes seems to be a desire to programme and play the big names in repertoire, which I can understand why. But there is also so much organ music out there that is rarely ever played and it could used to bring in a bit of variety into programmes. In the age of the internet musicians now have an unprecedented level of access to music which we didn't even know existed. And as a seasoned concert goer it's always particulary special to be able to say after the recital "I've not heard this piece before". Another bug bear of mine as a member of the audience is too frequent repetition of repertoire. I had to chuckle a bit some years ago seeing a recital series on a German barqoue organ feature Buxtehde's Passacaglia in 4 out of 7 recital days and the same Bach Prelude and Fugue on 3 days. I am sure the organists loved the opportunity to play that work on such a fine instrument, but perhaps the organisers of the series should have managed that aspect a litle better. While an organist plans his recital programme for that one day, organisers should probably consider the overal series and see how much overlap and repetition occurs. Now on a seperate note, could you please give me permission to record your excellent "Literally just a C" followed straight by an improvisation on the theme? 😁😂
I have a degree in music and I have some training in playing the church organ, but I have never heard such an entertaining yet hugely informative talk!! But how do you pronounce Bach?? BARK??? With regard to putting together a program, I believe in starting slowly and building up to the climax with a little bit of quirkiness in-between.
@@bloorganist He was quite a character and was one of my heroes from when I was an organ student long ago. A couple of books on his life have been published in recent years. I'll encourage you to read "Virgil Fox: In the Beginning" by Dennis Block.
I think it is sometimes helpful to build a recital around a theme. It is rather like a book cover or title . I remember one recital by a excellent pianist from Taiwan. She played a number of “Fantasies” so why not call the recital “A musical fantasy”.
@@bloorganist Thank you. I am very much an amateur musician but I did give 2 local concerts on the piano. One was “Enchanted melodies from bygone eras” ( works by Hummel, Herz, Czerny, Wyman etc) and the little concert room was full with 130 people. I was unknown but the title is what brought people in so an attractive title does catch the eye. Afterwards I received numerous requests for the scores which luckily were in the Public Domain and out of copyright. In your description of light and darkness I would try and find a catchy title which could reflect that concept. Also If we go to an opera or ballet there is often an overture (curtain raiser to set the scene) and finale so why not in a recital.? I think of Boellman,s Suite Gothique which is a little recital in itself with the opening Introduction through to the mighty Toccata as a finale. In Bach’s Cantata 29 it opens with the wonderful Sinfonia. As I have my own 3 manual concert organ now, I hope to offer a concert in my home with 3 of us playing and I will probably open with my arrangement of the Sinfonia as a curtain raiser.
Does anyone really care that the pieces are in keys which relates to each other? Does anyone actually notice? The most important point is surely to fit the type of pieces to the audience. For anything other than a specialist audience, omit the 'challenging' pieces. Overall, audiences don't want to be 'challenged'. That's not what they came in for. (A good test is, whether the audience realises that the piece has finished. If no-one knows when to applaud, that's a real bummer.)
Seriously, has anyone who doesn’t have perfect pitch ever noticed key relationships between different works in a programme ? I appreciate modulations during a piece (I always smile at modulations to the third) but a different piece in an other style is a clean slate for me.
I think it really does count for a lot, even subconsciously, but that's just me! And I love tonality epithets - if it's good enough for Bach/Beethoven...!
My first suggestion on this topic is this: don't call it an organ "recital"! Calling it an organ *Concert* will be much more attractive to more people.
![ตีสิบเดย์ [FULL] | อาจารย์โอเล่ ญาณสัมผัส ผ่าดวงคนดัง ประเทศไทยจะเป็นยังไงหลังจากนี้!](http://i.ytimg.com/vi/gszT2O76fL4/mqdefault.jpg)
That was literally D-lightful!
I just rewatched this and amazing content and discussion aside, I am in STITCHES with your delivery of the V Fox skits… you are a genius! I love your thoughtful discussion of appropriate recital programming. The best ones have a story to draw the audience along as you describe. A truly wonderful series Ben, keep it up!!!
Hitting a D on the piece literally just a C won me over.
This was the fuuniest thing I have seen this week. What a lot of hard work must have gone ito this. Looking forward to some more
Cheers John!
This video tooted my Cornopean. Bravo Mr. Bloor.
HONK
Another great upload, Ben. As I've said before, you are always very engaging, witty and informative; clearly, too, you understand your respective audiences - and their tolerance/interest levels! Your pupils/students are very lucky to have you as a teacher! (I'll avoid any 'socks' v 'shoes' reference, this time!) Take care and best wishes. Tony, Cheshire.
I just subbed your channel. Having spent the last 66 years on planet Earth and then stumbling onto your site, harkened me back to the many ECTs I had in my mid-30s. (And I thought I was a renaissance man.) Rochester, NY (Eastman country) is my hangout and you must come see what WE have to contribute to the organ world. You have a great talent which might be better served on the late night circuit( à la Virgil Fox). See ya!
What really makes a good organ recital/concert is when you play from your heart and soul into it and be more confident about yourself. I too do organ concerts/recitals or any concerts/recitals and I know what I'm talking about. If people will understand the effort it takes on a recital/concert, there will be a lot of positive comments. This is a good video tip. Love it.
Nice to hear from you again Ben: brilliant advice. I think a broad range of music is vital as is a player who will engage with the audience and speak a little about the music at the beginning. My problem is nerves. I have never given a public concert and have had to turn down requests to assist at church because of this :(
I used to suffer greatly from nerves. Repetition is key - it'll get easier with time...
On a more serious note (see what I did there?), this advice is excellent. Bravo!
I enjoyed this episode very much, that's a very interesting topic. I usually think my programmes carefully.
I always try to include some rare music (like contemporary or forgotten local composers) along with some easy stuff, and it works pretty well.
Ben, that was very entertaining and of much help to professionals, I'm sure. I had no idea that the Flentrop could produce such a massive sound. As for you being your audience...that was amusing. Thanks for the info about the cancelled Vierne 150, I'll try and remember to let Caroline know. Looking forward to October.
Thanks Ben; some great tips here. I must admit that I'd never given a great deal of consideration to the key relationships between the pieces, but I will from now on.
Thanks! I think it's certainly worth bearing in mind - by no means a deal-breaker for me, but definitely worth considering.
@@bloorganist Yeah; I'm going to have a look at some recital programmes by other organists to see if key relationships is something they'd factored in.
Glad to be introduced to you Ben via Richard McVeigh, I’ll look forward to listening to you, nice to see someone who is a bit different! All best, John
Welcome on board John!
Great tips Ben … you’re an absolute joy to listen too!! 👍👍
Many thanks!
Informative and at the same time entertaining video.
Those of us who worry enough about being able to play the right notes at the right time and in the right sequence of course know close to little about the worries and concerns the professionals deal with in devising recital programmes 😀
So it is interesting to hear your thoughts and ideas on that subject.
I'd also say that one should not perhaps be afraid to play lesser well know repertoire. There sometimes seems to be a desire to programme and play the big names in repertoire, which I can understand why. But there is also so much organ music out there that is rarely ever played and it could used to bring in a bit of variety into programmes. In the age of the internet musicians now have an unprecedented level of access to music which we didn't even know existed. And as a seasoned concert goer it's always particulary special to be able to say after the recital "I've not heard this piece before".
Another bug bear of mine as a member of the audience is too frequent repetition of repertoire. I had to chuckle a bit some years ago seeing a recital series on a German barqoue organ feature Buxtehde's Passacaglia in 4 out of 7 recital days and the same Bach Prelude and Fugue on 3 days. I am sure the organists loved the opportunity to play that work on such a fine instrument, but perhaps the organisers of the series should have managed that aspect a litle better. While an organist plans his recital programme for that one day, organisers should probably consider the overal series and see how much overlap and repetition occurs.
Now on a seperate note, could you please give me permission to record your excellent "Literally just a C" followed straight by an improvisation on the theme? 😁😂
I have a degree in music and I have some training in playing the church organ, but I have never heard such an entertaining yet hugely informative talk!! But how do you pronounce Bach?? BARK???
With regard to putting together a program, I believe in starting slowly and building up to the climax with a little bit of quirkiness in-between.
Thanks for watching! Yep, Bark - tends to be how it's pronounced in the UK!
Edna & Mavis 😂
I sense you have a great admiration for Virgil Fox 😉
I'll let you into a little secret. I know next to nothing about Virgil Fox... :P
@@bloorganist He was quite a character and was one of my heroes from when I was an organ student long ago. A couple of books on his life have been published in recent years. I'll encourage you to read "Virgil Fox: In the Beginning" by Dennis Block.
I think it is sometimes helpful to build a recital around a theme. It is rather like a book cover or title . I remember one recital by a excellent pianist from Taiwan. She played a number of “Fantasies” so why not call the recital “A musical fantasy”.
I think there's probably enough scope in 'Fantasy' to be able to make a varied programme - good idea!
@@bloorganist Thank you. I am very much an amateur musician but I did give 2 local concerts on the piano. One was “Enchanted melodies from bygone eras” ( works by Hummel, Herz, Czerny, Wyman etc) and the little concert room was full with 130 people. I was unknown but the title is what brought people in so an attractive title does catch the eye. Afterwards I received numerous requests for the scores which luckily were in the Public Domain and out of copyright. In your description of light and darkness I would try and find a catchy title which could reflect that concept. Also If we go to an opera or ballet there is often an overture (curtain raiser to set the scene) and finale so why not in a recital.? I think of Boellman,s Suite Gothique which is a little recital in itself with the opening Introduction through to the mighty Toccata as a finale. In Bach’s Cantata 29 it opens with the wonderful Sinfonia. As I have my own 3 manual concert organ now, I hope to offer a concert in my home with 3 of us playing and I will probably open with my arrangement of the Sinfonia as a curtain raiser.
2:57 Wait ... that was a D wasn't it? You had _one note_ to play and fluffed? 🤣
Does anyone really care that the pieces are in keys which relates to each other? Does anyone actually notice?
The most important point is surely to fit the type of pieces to the audience. For anything other than a specialist audience, omit the 'challenging' pieces. Overall, audiences don't want to be 'challenged'. That's not what they came in for. (A good test is, whether the audience realises that the piece has finished. If no-one knows when to applaud, that's a real bummer.)
Seriously, has anyone who doesn’t have perfect pitch ever noticed key relationships between different works in a programme ? I appreciate modulations during a piece (I always smile at modulations to the third) but a different piece in an other style is a clean slate for me.
Epithets for tonalities (radiant C major, noble E flat major, festive D major, etc.) = major eyeroll.
I think it really does count for a lot, even subconsciously, but that's just me! And I love tonality epithets - if it's good enough for Bach/Beethoven...!
My first suggestion on this topic is this: don't call it an organ "recital"! Calling it an organ *Concert* will be much more attractive to more people.