Page 2 of 2 FirstFirst 12
Results 16 to 19 of 19

Thread: Bach Passacaglia in c Registration

  1. #16
    Seaman, Mezzoforte
    Join Date
    Jun 2008
    Posts
    12
    Post Thanks / Like
    I can't imagine the expression in Bach's face, standing in front of a great "monster" as many organs in the world today, and I agree with contratrombone64 saying that, probably, could play 24 hours without stop!?!
    Dear Tom, I also am studying the Passacaglia, and, like you do, the problem for me is still the registration!?! I heard a friend playing it with mixtures in all manuals and 16' and 8' reeds on the pedal from the beginning to the end...:I'm sorry for people who likes to play the Passacaglia in this way, but... IT'S a LITTLE BORING!?!!! It's true: the continous crescendo you can see reading the pages of this piece of Bach, couldn't need, may be, of changes: infact, Bach at his time, had two or three manuals orgnas, in which he could make two or three different "sound levels" even with mixture in both of them. The diapason of each manual's principals and mixture was very different from the others, giving different levels of "pleno". And that's the first possibility you have!
    Bach also loved so much the "gravitat" of the 32 foot.. a rare stop at his time!!!
    But try.. to think at Passacaglia as a continous SOLO theme..you hear fist in pedal and then bouncing from a voice to another...
    If I could have a 32' stop in my organ, I surely would begin the pedal theme with it, and with a deep 16'...and on the manual, a Principal 8'.. giving precision (but always soft than pedal theme playing) to the chords!!!

    Manuel

  2. #17
    Commodore con Forza
    Join Date
    Jan 2006
    Posts
    521
    Post Thanks / Like
    I agree that playing all 20 variations with no diversity whatsoever is dull and boring.

    But while changing stops is one way to introduce diversity, it is not the only way. There are other ways: changing manuals has already been mentioned. Changing touch and articulation is yet another.

    Look at the last four variations, for example. The first of the four, with those ternary scales running up and down, is still fairly "light". The second one introduces a third voice, with parallel sixths on the first two beats and a chord on the third, while the pedal becomes somewhat lighter. The third variation keeps the three voices in the manuals, but with two notes held on each beat instead of just one, and the pedal becoming legato again. And the final variation introduces a fourth voice in the manual, now with parallel sixths alternatively on sprano-bass and on alto-tenor.

    So you see that Bach already puts a crescendo effect in his writing, by making it denser and denser. Therefore I believe that one can do something interesting without stop changes, if one puts Bach's writing to one's advantage (say, by underlining the changes in density through corresponding changes in articulation).

    I'm not opposed to stop changes per se, but I do think that they should be subordinate to the general structure of the piece. In a work such as the Passacaglia, it is easy to get carried away and turn frequent stop changes into a Klangfarbenmalerei that risks drawing more attention to itself than to the music it is supposed to serve.

    Note that this view is by no means part of any kind of “baroque vs. romantic” way of thinking: wasn't it Widor who told his students “No magic lanterns, if you please!”

  3. #18
    Admiral Honkenwheezenpooferspieler Corno Dolce's Avatar
    Join Date
    Sep 2007
    Location
    Moscow, Russia
    Posts
    10,538
    Post Thanks / Like
    Excellent suggestions ACC - BRAVO
    *If a man wants God to hear his prayer quickly, then before he prays for anything else, even his own soul, when he stands and stretches out his hands towards God, he must pray with all his heart for his enemies. Through this action God will hear everything that he asks* -Abba Zeno-

    *Protagoras: "Truth is subjective. What is true for you, and what is true for me, is true for me. Your opinion is true by virtue of its being your opinion."

    *Socrates: "My opinion is: Truth is absolute, not opinion, and that you are in absolute error. Since this is my opinion, then according to your philosophy you must grant that it is true."

    "Improvisational Art": http://www.youtube.com/watch?v=qSxVO3EoCRM

  4. #19
    Seaman, Mezzoforte
    Join Date
    Jun 2008
    Posts
    12
    Post Thanks / Like
    I thank you ACC! I never took in consideration the change of touch or articolation yet!?!
    May be, because I play on an electro-pneumatic organ and in the church, more than 10 seconds of reverberation and a half dome in the apse influence the sound so badly. The only way I have to feel a little change to the listener, is by drawing on or down a stop!!!
    Few second of reverb are a treasure, because they get the sound amalgamate, but too much reverb, strengthens too the "foundamental" harmonic of a sound, and so it's difficult to hear clearly every note and its articulation!?!
    But fortunately, I sometimes go in a little chirch, with a mechanical-tracker action: the next time, I'll try to play the Passacaglia without changing stops but changing articulation!!!

    Have a nice day!
    Manuel

Page 2 of 2 FirstFirst 12

Similar Threads

  1. Modern popular songs based on classical music.
    By jason in forum Fusion & Crossover Music Forum
    Replies: 54
    Last Post: Sep-11-2017, 17:14
  2. Bach
    By NEB in forum Pipe Organ Forum
    Replies: 26
    Last Post: Jan-28-2008, 22:31
  3. Replies: 11
    Last Post: Aug-05-2007, 03:08
  4. Beginner Organist
    By bonh-101 in forum Pipe Organ Forum
    Replies: 54
    Last Post: Mar-08-2006, 18:23
  5. Registration in Bach's music
    By Thomas Dressler in forum Pipe Organ Forum
    Replies: 12
    Last Post: Jan-20-2006, 18:47

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •