Sarah, your comments at the end about whether we play these pieces because they are the best, or we assume they are the best because they are included in syllabi etc. is very interesting to me. As an English literature PhD student researching a body of work not included in the Canon, and generally regarded as not worthy of academic study (Feminine Middlebrow), this question is constantly on my mind too. The same question can, of course, be asked of the visual arts. If the same people choose what is worthy of study/greatness etc, and they begin with certain assumptions, then things will not change. Thankfully things are changing in the field of literature, particularly with the advent of Affect theory, Geo-criticism, and cognitive linguistics we now understand the importance of reading 'immersive, realist texts' set in a real world of space and time, to our cognitive development, empathy and 'mind reading' capabilities. Not that I'm averse to a bit of weirdness - I love Modernism and my favourite author - Rachel Ferguson - wrote some really peculiar novels - check out her 1931 novel The Brontes Went to Woolworths.
Well, I must confess. Sarah is my favorite 'youtuber'/musician on TH-cam for now. Very resourceful, knowledgeable and kind. It's a huge factor for falling in love with the recorder.
My main instrument is the piano but I started watching her videos about a year ago and now I have bought myself a "Mollenhauer Adris Dream Recorder" which Im practising on now, all her fault 😝
@@ornleifsPianist here too. I couldn't buy a mollenhauer dream... no available in Brazil... I but got a used Alto/Treble Mollenhauer Denner in Grenadilla from a student that decided to stop studying music. Not the concert edition but at least one wooden next to my plastic Yamaha soprano, alto and tenor.
Ms. Jeffrey I love your channel, the way you play, you are awesome and your husband is a coolest funny guy. I'm middle age man leaning to play the recorder and I truly enjoy watching your videos. Thank you for what you do Blessings from Costa Rica
I was not expecting the lick, but I am delighted it's here. This is such a cool video! It's really neat to see the direct comparison of the two versions of the song.
Great and interesting video about this lovely piece, Sarah! I like how you compare the two versions and give an overview of different Interpretations. This is something, we usually not take our time and effort for. This was so interesting, thank you!🥰 I don't know if it is the piece itself or the fact that everyone get in contact with, but I remembered, that I immediately love it, when i heard my teacher playing it!🥰And I still do in your and many other versions.
Hi, I remember mention this kind of lecture on the note after your course, I participate. I am perfectly happy, I love van Eyck, I play few pieces, but never was mesmerized by this piece. Now I will spend few weeks for English Nightingale. Thanks to You, greetings
Again, heartily agree with your closing remarks. Music's a big world, and we don't have to play the same repertoire endlessly without ever exploring all the other wonderful music that exists. I speak from the perspective of a composer who has written one piece that has become popular, but while being extremely grateful for that wish that people would give more attention to my many other works. It's fine to have firm favourites in any repertory, but it's high time to embrace the music of people who aren't DWMs as well.
Dear Sarah, amazing. You absolutely nailed it with this video. Have been watching it from begin to start, and I really love it. Especially the part where you dive into the ways other recorder players played with their interpretations. Very educational, but also very tempting to check those versions myself. Well done, and please make more movies like this one. It's great. All the best, Marius.
Thanks for that. I wish I’d known this years ago when I was preparing it for my end-of-degree recital. I’d always just thought that different performers were taking greater liberties here, especially in the bit with the extra bar! At last, all is explained.
Dear Sarah, thank you for this inspiring and very informative video. I am in a country where no one studies classical music on the recorder. Meaning we do not have programs on colleges for the recorder. I am one of 1 percent student who took up recorder as a major relying on internet and social media and my violin background for knowledge about this lovely instrument. I really apprecite this video. Learned a lot from it. Thank you. God bless you and your family.
This was the first tune I played as solo flute with the City of Birmingham Sympgony Orchestra, UK back in the 1960s. It appears in 'The Birds' by Resphigi. We rehearsed it in Digbeth Civic Hall and played it that evening in the old Birmingham Town Hall. I know how thrilled must be to hear about that piece of useless info!
Thanks, James. Now I’ve just discovered a new piece by Respighi too! I never knew that tune had been used but I remember thinking when I first heard Van Eyck’s piece that it was vaguely familiar from somewhere. That suite also had the theme tune for ‘Going for a Song’, which my parents always used to watch on Sunday afternoons 😀.
Absolutely brilliant work Sarah. So wonderful to see the very same expertise and enthusiasm as videos years old, and with so much depth and value to the entire recorder community from teachers to masters. I've been converting all of Van Eyck to F recorder and enjoying key changes and a slightly lower sound range than most began with. Please do a review of Jay Scheide's Bach work for recorder. It's another avenue that I believe is every bit as important as Van Eyck gives us.
The catalogue was a great idea! It's a great tool for anyone attempting Van Eyck. It was comforting for me to see that other players take liberties with the tempo too.
My theory is that the Nightengale entered the recorder "canon" for three reasons: 1. It's a bird piece. Bird imitations are a thing for the recorder, and perhaps especially in the recorder revival (I think I remember a "Rossignol en amour" arrangement recorded by Carl Dolmetsch, and of course there's Hans-Martin Linde's "Music for a bird" among the modern repertoire.) While many of these have undeniable musical merit, they are also pretty much guaranteed audience pleasers, so they get programmed in concerts alongside heavier fare. 2. It's in Respighi's "Gli Uccelli" (1928), which would have been familiar to absolutely every classical-music listener in the 1950s and 1960s. 3. Some 40 years or so post-Respighi, Frans Brüggen played and recorded Van Eyck's treatment of it. Enough said: the rest (including the ABRSM connection) is history.
Thanks a lot for your explanation and showing the two versions. For me, this is just great fun to play, there is a lot variation in the music and it really sounds like a bird. But, I love to play a lot of his melodies as much as this one.
A thought I had whilst listening to your vid was the music suits the instrument sorta like how a power chord does as well on a guitar oslt great vid thanks.
I have this tune in a baroque recorder book! I love to play it but eh, yours sound a lot better. Probably because you're a professional, who knows :D Edit: that scale at 8:53 reminds me of Papageno's flute, so yes, definitely a bird!
I want more of these. Thank you. I am just starting to play van Eyck and I'm loving it. And byt can you make an introductory video on the alto recorder?
Ich habe ziemlich lange nachgedacht, aber ich kann mich nicht entscheiden: bin ich stärker fasziniert von der wundervoll lebendigen Art, in der Du das Thema vermittelst oder vom Thema selbst? Auf jeden Fall finde ich: besser kann man es nicht vermitteln, meinen herzlichen Dank für diese erfrischende, Lust auf (viel) mehr machende kleine musikalische Lehrstunde: ich finde das einfach nur prima, DANKE dafür! ============================================================== I've been thinking about it for quite a long time, but I can't decide: am I more fascinated by the wonderfully lively way in which you are conveying the topic or from the topic itself? Definitely I have to say: I cannot imagine a better way to convey it! Thank you so much for this likewise stimulating, inspiring, refreshing lesson, making musical appetite for (much) more. Please, keep doing that: I think that's just great, THANK YOU so much!
Hi Sarah! Can you make a video about recorder cases? I’m trying to Understand the pros and cons of canvas cases vs hard cases, bs plastic cases. Any tips for how to store my si trimmer and how often?
Apart from all other great content: what an interesting idea to use C-fingering on an Alto recorder in G! I will try it out on a Mollenhauer Kynseker. Stephan Blezinger I learned to love for his Bressan in 415 Hz… Which Amadeus Editions do you have? In mine I find the Engels Nachtelgaeltje as Nr. 27 in Vol. I and Den Nachtelgael as Nr. 112 in Vol. III (1984).
I remember birds sing higher notes in towns to be heard over the din. Would English towns (City, maybe) be more busy than Dutch towns in Van Eyck's time?
I really want to learn the pentatonic recorder but I can’t play in my house since I have an African Grey and it gonna set his energy levels on fire, is there a way to play the recorder quietly when you start? lol
You can... but the range might be a bit funny. They are usually transposed up a minor third, to be read on the alto recorder. You can play in the original key on a soprano/tenor, it may just go a little high!
Vaguely related to the last section of the video: We used to joke that you could tell the time by the piece being played on the local classical station
Hi Sarah. Can you recommend me a good Alto recorder method book. The book I have is really difficult. I think it assumes you have already mastered the soprano but I am still a second year beginner. Is there anything for alto that is manageable even for beginners?
Resident recorderist--isn't that your job as a professional recorder artist? Your orchestra is local to (? whatever its city is) So you already have your dream job!
I've long thought the musical curriculum, especially for grading purposes, should be taught more like the freestyle figure-skating section of any competitions: ie "to be grade X, the piece must include X number of trills, X number of octaves, X number of bars etc etc; practice something and play it!" It would expose students and teachers to a bigger repertoire, and mean that pupils would have more of a chance to play something they liked rather than having to like something they play. How many people stop playing instruments, even for pleasure, once they leave school, just because they didn't ever really "connect" with it?!
Sarah studied in Amsterdam and still lives there, she has become quite proficient at Dutch after all those years, especially as she clearly is an intelligent person with a perception of sounds above average due to her musicality. I love it whenever she says something in Dutch!
@@jobkaashoek Nou, da's een compliment! Maar idd, ik woon nog steeds in nederland, en na viertien jaar (plus de afgelopen vijf jaar heb ik de grote stad ingeruild voor het dorpsleven) heb ik best de kans gehad om mijn taalkunde te oefenen ;)
I think its really silly when things like fluttertongue are talked about as "contemporary". There is no way someone could write music for the recorder like van eyck and not known about stuff like that. Its not very complicated.
You are forgetting that there was a period in history where academic taught music was very formalised, and a load of arbitrary "rules" were written in almost like law, ranging from ornaments to chord choices to everything else (just look at Beethoven's early pieces which were "corrected" by his tutor Albrechtsberger). There was the "right" way to play an instrument, and deviation from that was frowned upon. Everyone knew how to do things like flutter tongue of course, but it wasn't considered a serious performance technique in most circles. Until relatively recently, hence it being referred to as a contemporary technique.
@@nigelhaywood9753 I have yet to hear a piece of contemporary recorder music that doesn't feature that sputato "chiffing" effect in it somewhere. That seems to be obligatory as well.
Pretty sure some malls nowadays deliberately play classical music over the loudspeakers to keep away the teenagers, just like Van Eeyk's gig in Utrecht.
Yes, the mall in the town I live in does this. While it is kind of insulting to me as a lover and player of classical music to have it used as people-repellant, it makes me chuckle because my own three boys love classical music and we will intentionally pause to listen at the door before going in. (On those rare occasions when we have to go there.)
If you're worried about what the purists freak out about making your own variations on a tune that he didn't vary is a good option. I wonder if it's a bit like the cooking video trolls who are always telling people that they're not doing it "the original way," After all J. J. v E. didn't create most of the tunes he used his own way.
Sarah, your comments at the end about whether we play these pieces because they are the best, or we assume they are the best because they are included in syllabi etc. is very interesting to me. As an English literature PhD student researching a body of work not included in the Canon, and generally regarded as not worthy of academic study (Feminine Middlebrow), this question is constantly on my mind too. The same question can, of course, be asked of the visual arts.
If the same people choose what is worthy of study/greatness etc, and they begin with certain assumptions, then things will not change.
Thankfully things are changing in the field of literature, particularly with the advent of Affect theory, Geo-criticism, and cognitive linguistics we now understand the importance of reading 'immersive, realist texts' set in a real world of space and time, to our cognitive development, empathy and 'mind reading' capabilities.
Not that I'm averse to a bit of weirdness - I love Modernism and my favourite author - Rachel Ferguson - wrote some really peculiar novels - check out her 1931 novel The Brontes Went to Woolworths.
I fell down the Van Eyck rabbit hole because of your original video. Thanks for the inspiration Sarah.
Well, I must confess. Sarah is my favorite 'youtuber'/musician on TH-cam for now. Very resourceful, knowledgeable and kind. It's a huge factor for falling in love with the recorder.
😍
My main instrument is the piano but I started watching her videos about a year ago and now I have bought myself a "Mollenhauer Adris Dream Recorder" which Im practising on now, all her fault 😝
@@ornleifsPianist here too. I couldn't buy a mollenhauer dream... no available in Brazil... I but got a used Alto/Treble Mollenhauer Denner in Grenadilla from a student that decided to stop studying music. Not the concert edition but at least one wooden next to my plastic Yamaha soprano, alto and tenor.
@ Pedro Brinck, and let's not forget jocular for a little comic relief. 👍 😊
I came here from a Davie504 bass video. I stayed because Sarah is who she is and loves her subject matter in a knowledgeable and quirky way. Thanks.
Ms. Jeffrey I love your channel, the way you play, you are awesome and your husband is a coolest funny guy.
I'm middle age man leaning to play the recorder and I truly enjoy watching your videos. Thank you for what you do
Blessings from Costa Rica
I was not expecting the lick, but I am delighted it's here. This is such a cool video! It's really neat to see the direct comparison of the two versions of the song.
She probably absorbed it by osmosis, that time she did a video with Adam Neely
Your Dutch pronunciation is perfect !! (Dutch roots ?)
You go me hooked, and I ordered a modest, beginners recorder 🪈... It's coming in tomorrow 😊... I'm 42 and I now feel like a kid, eager to learn LOL
Thanks Sarah!!!
You make The Recorder Much Fun!!!!
Great and interesting video about this lovely piece, Sarah! I like how you compare the two versions and give an overview of different Interpretations. This is something, we usually not take our time and effort for. This was so interesting, thank you!🥰 I don't know if it is the piece itself or the fact that everyone get in contact with, but I remembered, that I immediately love it, when i heard my teacher playing it!🥰And I still do in your and many other versions.
Truly the best ambassador of the recorder
Thank you for you magical work. You are a master. 🙏❤
Hi, I remember mention this kind of lecture on the note after your course, I participate. I am perfectly happy, I love van Eyck, I play few pieces, but never was mesmerized by this piece. Now I will spend few weeks for English Nightingale. Thanks to You,
greetings
Again, heartily agree with your closing remarks. Music's a big world, and we don't have to play the same repertoire endlessly without ever exploring all the other wonderful music that exists. I speak from the perspective of a composer who has written one piece that has become popular, but while being extremely grateful for that wish that people would give more attention to my many other works. It's fine to have firm favourites in any repertory, but it's high time to embrace the music of people who aren't DWMs as well.
Dear Sarah, amazing. You absolutely nailed it with this video. Have been watching it from begin to start, and I really love it. Especially the part where you dive into the ways other recorder players played with their interpretations. Very educational, but also very tempting to check those versions myself. Well done, and please make more movies like this one. It's great. All the best, Marius.
I’ve been working on this one!!! Thanks so much.
Brilliant!
Awesome explanation, and beautiful flute sound.
I also listen to jazz and this commentary on variations and interpretations reminds me of that.
Thanks for that. I wish I’d known this years ago when I was preparing it for my end-of-degree recital. I’d always just thought that different performers were taking greater liberties here, especially in the bit with the extra bar! At last, all is explained.
Dear Sarah, thank you for this inspiring and very informative video.
I am in a country where no one studies classical music on the recorder. Meaning we do not have programs on colleges for the recorder. I am one of 1 percent student who took up recorder as a major relying on internet and social media and my violin background for knowledge about this lovely instrument.
I really apprecite this video.
Learned a lot from it.
Thank you.
God bless you and your family.
This was the first tune I played as solo flute with the City of Birmingham Sympgony Orchestra, UK back in the 1960s. It appears in 'The Birds' by Resphigi.
We rehearsed it in Digbeth Civic Hall and played it that evening in the old Birmingham Town Hall.
I know how thrilled must be to hear about that piece of useless info!
I am thrilled to hear it, James! Thank you for sharing - that must have been an experience!
One of the things I like most about TH-cam is people sharing their life experiences in the comment sections. Thanks for sharing 🙌🏽💞✨
Thanks, James. Now I’ve just discovered a new piece by Respighi too! I never knew that tune had been used but I remember thinking when I first heard Van Eyck’s piece that it was vaguely familiar from somewhere. That suite also had the theme tune for ‘Going for a Song’, which my parents always used to watch on Sunday afternoons 😀.
beatiful video, thanks
Absolutely brilliant work Sarah. So wonderful to see the very same expertise and enthusiasm as videos years old, and with so much depth and value to the entire recorder community from teachers to masters. I've been converting all of Van Eyck to F recorder and enjoying key changes and a slightly lower sound range than most began with. Please do a review of Jay Scheide's Bach work for recorder. It's another avenue that I believe is every bit as important as Van Eyck gives us.
I always love watching you play because you're always so passionate
Thank you and merry Christmas! 🎄
I so love your presentations. 😊
The catalogue was a great idea! It's a great tool for anyone attempting Van Eyck. It was comforting for me to see that other players take liberties with the tempo too.
Happy new Year!
Holy cow, this was beyond interesting! Someday I'll reach those skies!
Great stuff Recorder Girl!!! I love the in depth analysis. I have the two Van Eyck books. Thanks much! Happy Christmas and New Year!!! 😎🌞✌️🎻🎅🏻
Excellente vidéo !!! un grand bravo !
That was really interesting!! Thank you 😊😊
My theory is that the Nightengale entered the recorder "canon" for three reasons:
1. It's a bird piece. Bird imitations are a thing for the recorder, and perhaps especially in the recorder revival (I think I remember a "Rossignol en amour" arrangement recorded by Carl Dolmetsch, and of course there's Hans-Martin Linde's "Music for a bird" among the modern repertoire.) While many of these have undeniable musical merit, they are also pretty much guaranteed audience pleasers, so they get programmed in concerts alongside heavier fare.
2. It's in Respighi's "Gli Uccelli" (1928), which would have been familiar to absolutely every classical-music listener in the 1950s and 1960s.
3. Some 40 years or so post-Respighi, Frans Brüggen played and recorded Van Eyck's treatment of it. Enough said: the rest (including the ABRSM connection) is history.
Thanks a lot, Sarah!!!! Seiko
Thanks a lot for your explanation and showing the two versions. For me, this is just great fun to play, there is a lot variation in the music and it really sounds like a bird. But, I love to play a lot of his melodies as much as this one.
I like the Dutch content of this video in particular, as it reminds me of a dear friend of mine who lives in the Netherlands 😊
A thought I had whilst listening to your vid was the music suits the instrument sorta like how a power chord does as well on a guitar oslt great vid thanks.
I have this tune in a baroque recorder book! I love to play it but eh, yours sound a lot better. Probably because you're a professional, who knows :D
Edit: that scale at 8:53 reminds me of Papageno's flute, so yes, definitely a bird!
Ye just convinced me - my practice tomorrow will be nightingales, only.
I want more of these. Thank you. I am just starting to play van Eyck and I'm loving it.
And byt can you make an introductory video on the alto recorder?
Oh yes! I can't believe I haven't made that one yet. It's on the list!
Ich habe ziemlich lange nachgedacht, aber ich kann mich nicht entscheiden:
bin ich stärker fasziniert von der wundervoll lebendigen Art, in der Du
das Thema vermittelst oder vom Thema selbst? Auf jeden Fall finde
ich: besser kann man es nicht vermitteln, meinen herzlichen Dank
für diese erfrischende, Lust auf (viel) mehr machende kleine musikalische
Lehrstunde: ich finde das einfach nur prima, DANKE dafür!
==============================================================
I've been thinking about it for quite a long time, but I can't decide:
am I more fascinated by the wonderfully lively way in which you are
conveying the topic or from the topic itself? Definitely I have to say:
I cannot imagine a better way to convey it! Thank you so much for this
likewise stimulating, inspiring, refreshing lesson, making musical
appetite for (much) more. Please, keep doing that: I think that's just
great, THANK YOU so much!
Hi Sarah! Can you make a video about recorder cases? I’m trying to
Understand the pros and cons of canvas cases vs hard cases, bs plastic cases. Any tips for how to store my si trimmer and how often?
Thank you for such an wonderful overview - very helpful for approaching this piece.
Also - Could you suggest where I could find an alto recorder in G?
Apart from all other great content: what an interesting idea to use C-fingering on an Alto recorder in G!
I will try it out on a Mollenhauer Kynseker.
Stephan Blezinger I learned to love for his Bressan in 415 Hz…
Which Amadeus Editions do you have? In mine I find the Engels Nachtelgaeltje as Nr. 27 in Vol. I and Den Nachtelgael as Nr. 112 in Vol. III (1984).
As to your last point: You are probably right that we should refresh our catalogue from time to time. But OMG Dvoraks 9th symphony is rad as hell.
I bought a 4 volume set of Van Eyck's recorder works and it will keep me busy until the end of time! I'm exceptionally slow at reading music.
Our town has buskers who pretty much just play up and down scales , and that's what it sounds like... :D
I remember birds sing higher notes in towns to be heard over the din. Would English towns (City, maybe) be more busy than Dutch towns in Van Eyck's time?
Is that an Autne HTLCA LGT 240 mic?
Not that bad for an aliexpress mic. Works well for voice, but just ok for recorder :)
Gotta love Van Eyck! ❤
I really want to learn the pentatonic recorder but I can’t play in my house since I have an African Grey and it gonna set his energy levels on fire, is there a way to play the recorder quietly when you start? lol
This was awesome! Off subject, but kind of parallel, if I get telemans fantasias for flute solo, could I read it for recorder?
You can... but the range might be a bit funny. They are usually transposed up a minor third, to be read on the alto recorder. You can play in the original key on a soprano/tenor, it may just go a little high!
Gads! It must have been tedious writing the notation by hand and keeping it so neat and aesthetically pleasing.
Vaguely related to the last section of the video: We used to joke that you could tell the time by the piece being played on the local classical station
Hahaaaa. Weirdly our classical station (Radio 4 in NL) seems to play very atonal music at the exact time we eat dinner every evening!
Hi Sarah. Can you recommend me a good Alto recorder method book. The book I have is really difficult. I think it assumes you have already mastered the soprano but I am still a second year beginner. Is there anything for alto that is manageable even for beginners?
Resident recorderist--isn't that your job as a professional recorder artist? Your orchestra is local to (? whatever its city is) So you already have your dream job!
I've long thought the musical curriculum, especially for grading purposes, should be taught more like the freestyle figure-skating section of any competitions: ie "to be grade X, the piece must include X number of trills, X number of octaves, X number of bars etc etc; practice something and play it!" It would expose students and teachers to a bigger repertoire, and mean that pupils would have more of a chance to play something they liked rather than having to like something they play.
How many people stop playing instruments, even for pleasure, once they leave school, just because they didn't ever really "connect" with it?!
Wow, an English person (presumably) who can do a reasonable Dutch pronunciation, you don't hear that every day! :-D
Sarah studied in Amsterdam and still lives there, she has become quite proficient at Dutch after all those years, especially as she clearly is an intelligent person with a perception of sounds above average due to her musicality. I love it whenever she says something in Dutch!
@@jobkaashoek Nou, da's een compliment! Maar idd, ik woon nog steeds in nederland, en na viertien jaar (plus de afgelopen vijf jaar heb ik de grote stad ingeruild voor het dorpsleven) heb ik best de kans gehad om mijn taalkunde te oefenen ;)
Mijn complimenten! :-)
The most famous tune for recorder would be the intro to "Stairway To Heaven" by Led Zeppelin.
Okay, dat verwacht je niet.. :)
My favorite part 10:08
Sołowiej = Nightingale so I am Polish Nightingale :)
Your Dutch pronunciation is Dutch-ish. Where you from?
I couldn't find the link to the project in the description. Can anyone help me?
Oop forgot to add it! Silly me, I’ll update
other than the recorder.... who else is looking at the language board behind her ..??
i got tamil , malayalam , hindi and arabic
I think its really silly when things like fluttertongue are talked about as "contemporary". There is no way someone could write music for the recorder like van eyck and not known about stuff like that. Its not very complicated.
You are forgetting that there was a period in history where academic taught music was very formalised, and a load of arbitrary "rules" were written in almost like law, ranging from ornaments to chord choices to everything else (just look at Beethoven's early pieces which were "corrected" by his tutor Albrechtsberger). There was the "right" way to play an instrument, and deviation from that was frowned upon. Everyone knew how to do things like flutter tongue of course, but it wasn't considered a serious performance technique in most circles. Until relatively recently, hence it being referred to as a contemporary technique.
@@barthvapour And now they ram it down your throat, it seems. At least, that’s been my experience of conservatory level composition studies.
@@nigelhaywood9753 I have yet to hear a piece of contemporary recorder music that doesn't feature that sputato "chiffing" effect in it somewhere. That seems to be obligatory as well.
@@barthvapour That's true too! 😀
Pretty sure some malls nowadays deliberately play classical music over the loudspeakers to keep away the teenagers, just like Van Eeyk's gig in Utrecht.
Yes, the mall in the town I live in does this. While it is kind of insulting to me as a lover and player of classical music to have it used as people-repellant, it makes me chuckle because my own three boys love classical music and we will intentionally pause to listen at the door before going in. (On those rare occasions when we have to go there.)
Here early!
If you're worried about what the purists freak out about making your own variations on a tune that he didn't vary is a good option. I wonder if it's a bit like the cooking video trolls who are always telling people that they're not doing it "the original way," After all J. J. v E. didn't create most of the tunes he used his own way.
im a kid but its good
Did they have teenagers back then? I thought they came into being in the 1950s.
I wonder if our council would pay us to play in the town centre to keep away nuisance teenagers.