Bravo Ralph! What a wonderful set of variations - I definitely need to learn some Sweelinck; especially this year! Your recordings are inspirational. Sensitive registration and beautiful ornamentation and interpretation as always!
Thanks, Jerry! It would be very nice if you'll record some Sweelinck in this year. You have the Green Monster... Tip: his Echo Fantasia in d. But it's up to you of course 😎
Sorry I am late to this one (though it was good to have you in the live chat with Jerry's St Patrick's Day Concert last night. And I learned that you have a baby to help look after as well: respect!)). I'm sure you will agree that it is important for us to remember that Jan Pieterszoon Sweelinck represents the highest development of the Dutch keyboard school, and indeed, represented a pinnacle in keyboard contrapuntal complexity and refinement long before J.S. Bach. Sweelinck's work straddled the end of the Renaissance and beginning of the Baroque eras and, as a major composer for keyboard music, helped to lay the foundations for the north German organ tradition that was to follow. Your playing has again demonstrated your perfect articulation, tempo and registration choices for each of the variations - and in true Baroque style on the marvellous Klapmeyer organ at Altenbruch. It is always a joy to listen to you play, Ralph. Maybe one day you will treat us to a video view of you performing on your Hauptwerk home organ? I'm sure other fans are as curious as me to see the master at work. We've seen you sing (at 18!); now we hope to see you play one day!
Thanks, Graham! I'll pin your comment, since it's useful for others to read your thoughts about Sweelinck and his heritage. Regarding your question about seeing me play. I actually am busy (with some advice from Jerry) with arranging that, but it takes time (and financial investment). However, my Hauptwerk setup is very primitive (and not nice-looking), but I understand that it's nice to see someone play. I have also plans to record and film at real pipe organs in Holland. So many ambitious plans, but it will take some time (you know: work, family etc.). So I hope this will satisfy you a bit, Graham!
@@RalphLooij My apologies if you felt I was pressurizing you, Ralph. It was just an observation. I liked being able to see the handsome man with the amazing voice sing when aged 18: the two elements were a perfect match. I can wait to see the handsome man who plays so brilliantly on his 'primitive and not nice-looking' Hauptwerk organ as that is already a perfect match, too. And just think, whatever your console looks like, it won't detract from you. We don't go to the theatre (when we can!) to look at the stage and the set; we go to see the actors perform. And so that is an expectation with TH-cam, not that your videography hasn't been of the highest standard with score and image and sound. Some live performances and more of what you already do so wonderfully will make for a more interesting diet. And I'm always hungry for more!
@@grahamtwist No need for apologies, Graham! I'm glad with your support! And sometimes I need a bit of pressure to strive for the things I want to do. THANKS!
Well played, Ralph. We need to agree on an emoji which means that so I don't always have to type it out hehehe. The dating of the organ is after the death of Arp Schnitger and almost coincides with the beginning of the working life of Anthoni Albertus Hinsz. You you can hear in the sound that there is lots of pipework which predates Klapmeyer's work on the organ. In some way I think it's fair to almost call it misleading that we refer to this instrument as an organ of 1727/30. It's a bit rougher than Schnitgers organs but has stops with character and a great sample set for playing music of the Renaissance and all of the Baroque. And of course if we look at the organ case, we can see that Positiv and the main case bear the distinct design features of a Renaissance organ. Thus I think it's a great choice for the music of Sweelinck and his pupils, as well as the music of the Baroque except for those large works where you might want a bigger acoustic.
Thanks, Marek! I'm glad you take the time to type your informative comments, I really enjoy that. You are right. It's better to call this organ an Klapmeyer-Coci-Fritzsche-Ahrend organ, since there is a lot of older (and newer) pipework. Therefore perfect for Sweelinck, Scheidemann & Scheidt. Buxtehude works fine also (the smaller pieces). But as you say, a big Bach P&F would be too much for this organ. In future I will record some of the Gdansk Manuscript on it. On the Kiedrich set it will sound even more nice, but I don't have that one.
@@RalphLooij An excellent choice. I too, had this organ in mind for recordings the older Gdansk music. Incidentally, some 19th century music might be more fitted to Kampen out of all organs, as the music in question was conceived on a 1760 built instrument and Kampen offers a difficult acoustic somewhat comparable to that of St. Mary's when we talk about pieces confirmed to have been composed there :)
@@RalphLooij I had the same habit at the beginning, unlike you, the quality of my playing was suffering from a lake of practice before recording. I think about reuploading better versions of the great pieces I did some months ago. But for me, one piece a week is enough with a full time job and 3 1/2 kids.I wish you the best for the future !
@@remi-chapalain I know, I have 2 kids. But playing (and editing the video's) is for me also a way of relaxing in the evening somehow. So, hence the productivity.
Wow! interesting interpretation. Do you there's general rules / guide on registering Sweelinck music? Like you have mentioned, his pieces are NOT easy to play, I meant interpretation wise.
Thanks! No, I don't think there are specific registration rules besides that it has to be in a baroque manner of course. He didn't prescribe much, so that leaves us a lot of freedom...
@@RalphLooij Sorry, I didn't mean hurting anyone. In the Eichenberger version, at the end, ,there are choirs which song the anthem, this the part which makes this Onze Vader so beautiful. But it is only a matter of taste, and your version is quite beautiful too.
Really beautiful piece! Slower, faster... all sound great... great music can handle more ways of interpreting... Thanks for this Ralph 👊🍀🍀
Thanks! I agree completely.
I'm really looking forward to this!😁👍👍👍
Bravo Ralph! What a wonderful set of variations - I definitely need to learn some Sweelinck; especially this year! Your recordings are inspirational. Sensitive registration and beautiful ornamentation and interpretation as always!
Thanks, Jerry! It would be very nice if you'll record some Sweelinck in this year. You have the Green Monster... Tip: his Echo Fantasia in d. But it's up to you of course 😎
Ralph this is Amazing! Great choice! Well done!
Thanks, Salvatore! I'm glad you liked it.
Beautiful 🎹 Thanks 🎶
Thanks, Lluís!
Absolutely fantastic 😍I love it.☀️💛
Thanks!
I like Sweelinck variations, I did not know that it is his year! wow, 400 years ago....
Yes, probably for a Dutchie more important than for other countries ;)
Sorry I am late to this one (though it was good to have you in the live chat with Jerry's St Patrick's Day Concert last night. And I learned that you have a baby to help look after as well: respect!)). I'm sure you will agree that it is important for us to remember that Jan Pieterszoon Sweelinck represents the highest development of the Dutch keyboard school, and indeed, represented a pinnacle in keyboard contrapuntal complexity and refinement long before J.S. Bach. Sweelinck's work straddled the end of the Renaissance and beginning of the Baroque eras and, as a major composer for keyboard music, helped to lay the foundations for the north German organ tradition that was to follow. Your playing has again demonstrated your perfect articulation, tempo and registration choices for each of the variations - and in true Baroque style on the marvellous Klapmeyer organ at Altenbruch. It is always a joy to listen to you play, Ralph. Maybe one day you will treat us to a video view of you performing on your Hauptwerk home organ? I'm sure other fans are as curious as me to see the master at work. We've seen you sing (at 18!); now we hope to see you play one day!
Thanks, Graham! I'll pin your comment, since it's useful for others to read your thoughts about Sweelinck and his heritage.
Regarding your question about seeing me play. I actually am busy (with some advice from Jerry) with arranging that, but it takes time (and financial investment). However, my Hauptwerk setup is very primitive (and not nice-looking), but I understand that it's nice to see someone play. I have also plans to record and film at real pipe organs in Holland. So many ambitious plans, but it will take some time (you know: work, family etc.).
So I hope this will satisfy you a bit, Graham!
@@RalphLooij My apologies if you felt I was pressurizing you, Ralph. It was just an observation. I liked being able to see the handsome man with the amazing voice sing when aged 18: the two elements were a perfect match. I can wait to see the handsome man who plays so brilliantly on his 'primitive and not nice-looking' Hauptwerk organ as that is already a perfect match, too. And just think, whatever your console looks like, it won't detract from you. We don't go to the theatre (when we can!) to look at the stage and the set; we go to see the actors perform. And so that is an expectation with TH-cam, not that your videography hasn't been of the highest standard with score and image and sound. Some live performances and more of what you already do so wonderfully will make for a more interesting diet. And I'm always hungry for more!
@@grahamtwist No need for apologies, Graham! I'm glad with your support! And sometimes I need a bit of pressure to strive for the things I want to do. THANKS!
Wonderful! Well done!
Thanks, much appreciated!
Beautiful Ralph!😊❤️❤️
Thanks, Lauriejeanne. I'm glad you deemed it beautiful ✌
Bravo
Thanks!
Well played, Ralph. We need to agree on an emoji which means that so I don't always have to type it out hehehe.
The dating of the organ is after the death of Arp Schnitger and almost coincides with the beginning of the working life of Anthoni Albertus Hinsz. You you can hear in the sound that there is lots of pipework which predates Klapmeyer's work on the organ. In some way I think it's fair to almost call it misleading that we refer to this instrument as an organ of 1727/30. It's a bit rougher than Schnitgers organs but has stops with character and a great sample set for playing music of the Renaissance and all of the Baroque. And of course if we look at the organ case, we can see that Positiv and the main case bear the distinct design features of a Renaissance organ.
Thus I think it's a great choice for the music of Sweelinck and his pupils, as well as the music of the Baroque except for those large works where you might want a bigger acoustic.
Thanks, Marek! I'm glad you take the time to type your informative comments, I really enjoy that.
You are right. It's better to call this organ an Klapmeyer-Coci-Fritzsche-Ahrend organ, since there is a lot of older (and newer) pipework. Therefore perfect for Sweelinck, Scheidemann & Scheidt. Buxtehude works fine also (the smaller pieces). But as you say, a big Bach P&F would be too much for this organ.
In future I will record some of the Gdansk Manuscript on it.
On the Kiedrich set it will sound even more nice, but I don't have that one.
@@RalphLooij An excellent choice.
I too, had this organ in mind for recordings the older Gdansk music.
Incidentally, some 19th century music might be more fitted to Kampen out of all organs, as the music in question was conceived on a 1760 built instrument and Kampen offers a difficult acoustic somewhat comparable to that of St. Mary's when we talk about pieces confirmed to have been composed there :)
Too bad, I was working at 17h00. Sounds really great ! You have a huge rythm of publication !
Thanks, Remi!
You're right, I upload fast. I must slow down a bit, consider it enthusiasm. There is so much beautiful & unknown music to share.
@@RalphLooij I had the same habit at the beginning, unlike you, the quality of my playing was suffering from a lake of practice before recording. I think about reuploading better versions of the great pieces I did some months ago. But for me, one piece a week is enough with a full time job and 3 1/2 kids.I wish you the best for the future !
@@remi-chapalain I know, I have 2 kids. But playing (and editing the video's) is for me also a way of relaxing in the evening somehow. So, hence the productivity.
Really beautiful!😁👍👏👏👏
Thanks, Peter!
You're welcome!😁👍
Wow! interesting interpretation. Do you there's general rules / guide on registering Sweelinck music? Like you have mentioned, his pieces are NOT easy to play, I meant interpretation wise.
Thanks!
No, I don't think there are specific registration rules besides that it has to be in a baroque manner of course. He didn't prescribe much, so that leaves us a lot of freedom...
I'm sorry, but Eichenberger, with voices in the final, is above all other versions
Well, I never claim to be above anyone ;) What do you mean with: 'with voices in the final'?
@@RalphLooij Sorry, I didn't mean hurting anyone. In the Eichenberger version, at the end, ,there are choirs which song the anthem, this the part which makes this Onze Vader so beautiful. But it is only a matter of taste, and your version is quite beautiful too.