My father sang in the choir of the Groninger Studenten Pastoraat which had their services in the Martinikerk and he liked it when I attended the Sunday Services hearing him and the choir singing. And I liked it too. I have heard Wim van Beek play this magnificent organ so many times and even though I was a teenager, I have always loved listening to the music played on the Martini-organ. I am (kinda) old now and this is one of the things I would love to do again. My father is still alive, but the choir doesn't exist anymore, Wim van Beek died in June 2017 and the whole setting from my youth will never happen again. But thankfully the Martini-organ is still there and will survive all of us!
To think that I had music lessons by this guy when I was doing elementary school. Everyone thought he was a weirdo. Most didn't care about music lessons anyway. Let alone the organ. I guess most need to age a bit to appreciate it and admire its magnificence and glorious sounding. I grew up with the church so I always took it for granted and since I'm not exactly a partizan of religious institutions it always held some negative connotation for me. Now I can see it as separate from religious practices and doctrine and truly enjoy it. And let's be honest, without weirdo's we would still be in the stone age. A man needs unparalleled devotion and dedication to master such an instrument like he does.
Perhaps my favorite thing about Sietze's playing is the grace and subtlety he brings to slow movements and ornamented chorale textures. The adagio of this recording is absolutely stunning... sublime and inspiring! Bravo Sietze!
I cannot imagine a better combination than Sietze de Vries playing this piece of art on the "green monster". It's simply perfect. I'm sure, Bach would have played it very similar. And for sure, he would have loved this organ. This sound is simply "wow", espacially when played by an artist like Sietze de Vries, who knows how to get the most out of it.
The audio is so "live"--it puts you in the middle of the church with all the swirls and eddies of sound, tonal overlap and long decays. It is magnificent.
Bwv564 was never on my attention, until I hear maestro Sietze’s performance. He has his own unique rendering of this work with all the articulation and ornaments, but they are perfectly logical to themself, I can only attribute this to his deep understanding of baroque music! What a fortune to witness such a virtuosity. Salute!
Incomparable recording of this famous piece! Combination of the phenomenal performance by Sietze, the magnificent recording by Canere (both audio and video are at the highest level) and of course the Martini-organ.
What a gift from Mr. Sietze de Vries to the World! This rendition is stunning, I have never seen-heard such a beautiful pedal work which is very difficult, and Mr. de Vries did it wonderfully. I’m a fan of the several Dutch organs, each one is unique, alive, like a living creature, however I find that the organ at the Martinikerk to be my favorite, its sounds are so mature, clear, elegant. I’m the most common person, I’m not a musician at all, but really appreciate these wonderful videos. This organ has also a special meaning to me, my maternal grandfather was from Groningen who was christened at this very same church where he and his family attended. Greetings from Guatemala!
I love the crisp articulation you use in the adagio. It gives it a throbbing, rhythmic quality that really brings out the sorrowful affect. It just shows how cantabile doesn’t mean just superimposing lots of legato. I think it’s really quite a skill to retain the singing quality while bringing out the rhythmic vitality.
I love the steady tempo, not too fast to allow all the voicing to sound properly and fill the space. Too many recordings/videos of this piece are ruined by going too fast, yet a toccata (most of them) interpretation can really show off the inherent musicality of the organist by the decisions they make to get through it because to me it seems impossible to notate the exact intension of a toccata, really. Also, love, love, love the ornamentation! I have a pro audio, powered speaker system with subwoofer with my computer when I listen on youtube, and I'm hearing the low notes quite well with lower frequency reverberation in this very clear recording, for what it's worth. A lot of low frequency is captured. Perhaps most peoples' computer audio systems are missing the lower registers and a subwoofer would help. BWV 564 is my favorite of the great Bach organ works. Always has been, I think, for the joyful whimsy in much of it. If I'm in a bad mood, the fugue always brightens my day.
Vraiment superbe magnifique l’adagio accompagné de la profondeur et du velouté du prestant de 32 pieds et féerique merci à vous pour ce merveilleux moment
I love the registrations, particularly in the Adagio - I love that in the joyous fugue you keep pretty much the same registrations throughout and let the music and your phrasing speak.
Ik vind het geweldig!!!! Tempo is subliem; Bach is grandioos; wat had deze man een gevoel voor muziek; voor de combinatie van noten, akkoorden en toonladders.
Bach heeft in zijn jeugd ongetwijfeld onderwijs gehad in de retorica. De volmaakte beheersing van de muzikale retorica is een van de kenmerken in Bachs muziek die hem tot een van de grootste, zo niet de grootste componist aller tijden maakt. Sietze de Vries is een vaardige en inspirerende 'naverteller' van het muzikale verhaal dat Bach in deze Toccata ons vertelt.
Wow, that organ and that piece must be responsible for converting many a disbeliever, heavenly! Me too almost! Just wish there was some illumination of the pedal parts.
Fantastisch, prachtig gespeeld, op een prachtig instrument. De audiokwaliteit is werkelijk subliem, de enorme diepte en ‘rumble’ van de 32 voets prestant is uitstekend waar te nemen met een hoogwaardige koptelefoon. Ik hoop het orgel binnenkort eens in het echt te kunnen beluisteren.
Spiegazione ed interpretazione magistrale, Maestro Ruggero. Di fughe Doriche ne ho ascoltate almeno una decina e questa è senz'altro una delle più ricche di sfumature espressive, per capire e carpire l'animo di Bach e di ciascun interprete. In questa le voci si distinguono sempre, si rincorrono e qui ogni nota frase è ben compresa, ha un suo contesto, una sua collocazione nella ritmica, nell'armonia e nello spazio. Bach ingegnere del suono, oltre che sublime compositore. Nulla è frutto del caso. Ogni volta l'abilità espressiva di questi grandi interpreti, esegeti, aggiunge qualcosa al divino che ci affanniamo a nascondere con cura nel nostro quotidiano. Se chi dovesse governare il mondo capisse il messaggio della musica e delle arti non sarebbe concepibile tanta grettezza ed egoismo. La vita è molto più bella se concentriamo la nostra attenzione sul nostro essere, piuttosto che sul nostro avere.
25 jaar geleden heb ik dit stuk ook in een kerk voor publiek gespeeld. Zo'n plezier om alle drie stukken te spelen. Die solo pedaal partij in de Toccata in het begin en dan de victorieuze twee accoorden waarna de melodie in herneemt, dan de emotionele adagio en tot slot de glorieuze fuga. Het geweldige in de overgangspassages in deze fuga is dat ze altijd naar iets toewerken (hoewel dat eigenlijk wel iets typisch Bach is maar hier overduidelijk).
Dopo aver evocato i maestri nordici nel primo movimento, Bach scende in Italia e precisamente a Venezia per immergersi nella melanconia lagunare per poi risvegliarsi con la chiara e trasparente stupefacente fuga conclusiva .
Leuk om je de BWV 564 na vele jaren na je cd opname, weer eens te horen spelen. Wij zijn als ik me niet vergis van hetzelfde bouwjaar 1973. Jij nam hem op als broekie, ik beluisterde hem als broekie. Ik ben benieuwd of je net als toen voor de dezelfde registratie hebt gekozen in het middendeel. Met name het slot daarvan maakte toen indruk met de prachtige verzadigde prestantklank.
Die tongwerken hebben echt toon en ratelen niet! Ahrend is een echte kunstenaar. Zelf les gehad op een orgel van hem (Haarlem, Doopsgezinde Kerk). Dit stuk ken ik (zelf nooit geprobeerd) maar hier hoor je het als het ware opnieuw. Prima tempo, vooral niet te snel willen gaan.
Sietze de Vries, you are not the only one. There are many of you who believe that the pedal solo is music to be interpreted. The pedal solo is not music, but an etude for two feet, and should be played as quickly as possible whitout sounding like you are struggling. If Bach wanted a musical expression, why do we never find a pedal solo in his organ compositions from his adult life? The pedal solo is an element of «show off» and those who criticize «show off» are unfamiliar with human nature.
@@sietzedevries6159 Niettemin lijkt mij toch dat het in principe niet toegestaan is fouten te maken in een live uitvoering voor een professioneel musicus. Daarvoor heb je toch gestudeerd, om foutloos te kunnen spelen? Wat als Janine Jansen regelmatig een D in plaats van een C zou spelen, of überhaupt slecht zou intoneren, ze zou afdalen naar een amateurorkest, toch?
@@JPGroen Het woord 'regelmatig' is in dezen cruciaal. Natuurlijk probeer je zonder fouten te spelen en terugkerende fouten en slechte intonatie zijn onacceptabel. Maar gestudeerd hebben om foutloos te spelen: dat lijkt me afschuwelijk. Janine Jansen boeit in de eerste plaats omdat ze geweldig muziek maakt, niet om dat ze foutloos speelt. Volgens de legende zei Beethoven dat hij fouten kon vergeven, maar zonder passie spelen niet. :-)
The small mistakes add to the charm of your performance. I keep going back to it. I simply adore the way you interpret the Adagio. I have not been able to read the rest of the replies, but I do hope no offense has been taken.
My father sang in the choir of the Groninger Studenten Pastoraat which had their services in the Martinikerk and he liked it when I attended the Sunday Services hearing him and the choir singing. And I liked it too. I have heard Wim van Beek play this magnificent organ so many times and even though I was a teenager, I have always loved listening to the music played on the Martini-organ. I am (kinda) old now and this is one of the things I would love to do again. My father is still alive, but the choir doesn't exist anymore, Wim van Beek died in June 2017 and the whole setting from my youth will never happen again. But thankfully the Martini-organ is still there and will survive all of us!
To think that I had music lessons by this guy when I was doing elementary school. Everyone thought he was a weirdo. Most didn't care about music lessons anyway. Let alone the organ. I guess most need to age a bit to appreciate it and admire its magnificence and glorious sounding. I grew up with the church so I always took it for granted and since I'm not exactly a partizan of religious institutions it always held some negative connotation for me. Now I can see it as separate from religious practices and doctrine and truly enjoy it. And let's be honest, without weirdo's we would still be in the stone age. A man needs unparalleled devotion and dedication to master such an instrument like he does.
Refreshing post! And without wierdos, nothing would be done differently / be questioned / get changed!
Perhaps my favorite thing about Sietze's playing is the grace and subtlety he brings to slow movements and ornamented chorale textures. The adagio of this recording is absolutely stunning... sublime and inspiring! Bravo Sietze!
I cannot imagine a better combination than Sietze de Vries playing this piece of art on the "green monster". It's simply perfect. I'm sure, Bach would have played it very similar. And for sure, he would have loved this organ. This sound is simply "wow", espacially when played by an artist like Sietze de Vries, who knows how to get the most out of it.
The audio is so "live"--it puts you in the middle of the church with all the swirls and eddies of sound, tonal overlap and long decays. It is magnificent.
Bwv564 was never on my attention, until I hear maestro Sietze’s performance. He has his own unique rendering of this work with all the articulation and ornaments, but they are perfectly logical to themself, I can only attribute this to his deep understanding of baroque music! What a fortune to witness such a virtuosity. Salute!
Toccata: 00:01
Adagio: 06:39
Fugue: 11:28
Incomparable recording of this famous piece! Combination of the phenomenal performance by Sietze, the magnificent recording by Canere (both audio and video are at the highest level) and of course the Martini-organ.
Arp Schnitger, Jurgen Ahrend and Sietze de Vries! What a wonderful combination.
You nail it!
What a gift from Mr. Sietze de Vries to the World! This rendition is stunning, I have never seen-heard such a beautiful pedal work which is very difficult, and Mr. de Vries did it wonderfully. I’m a fan of the several Dutch organs, each one is unique, alive, like a living creature, however I find that the organ at the Martinikerk to be my favorite, its sounds are so mature, clear, elegant. I’m the most common person, I’m not a musician at all, but really appreciate these wonderful videos. This organ has also a special meaning to me, my maternal grandfather was from Groningen who was christened at this very same church where he and his family attended. Greetings from Guatemala!
Cette manière de jouer l'adagio le rend extraordinairement expressif. Comme si la voix de Bach parlait. Merci pour cette interprétation hors du temps.
The adagio rips it's so good
I love the crisp articulation you use in the adagio. It gives it a throbbing, rhythmic quality that really brings out the sorrowful affect. It just shows how cantabile doesn’t mean just superimposing lots of legato. I think it’s really quite a skill to retain the singing quality while bringing out the rhythmic vitality.
I love the steady tempo, not too fast to allow all the voicing to sound properly and fill the space. Too many recordings/videos of this piece are ruined by going too fast, yet a toccata (most of them) interpretation can really show off the inherent musicality of the organist by the decisions they make to get through it because to me it seems impossible to notate the exact intension of a toccata, really. Also, love, love, love the ornamentation!
I have a pro audio, powered speaker system with subwoofer with my computer when I listen on youtube, and I'm hearing the low notes quite well with lower frequency reverberation in this very clear recording, for what it's worth. A lot of low frequency is captured. Perhaps most peoples' computer audio systems are missing the lower registers and a subwoofer would help.
BWV 564 is my favorite of the great Bach organ works. Always has been, I think, for the joyful whimsy in much of it. If I'm in a bad mood, the fugue always brightens my day.
On ne lasse jamais en écoutant du Bach, même la 100ème fois. Magnifique instrument, grand interprète. Merci -:)
Excellent composer, Excellent organ player, Excellent organ, Excellent acoustic of the church (I like deep bass and long reverb)
Absolutely fantastic. Congratulations Sietze!
He is aKing on the Queen
The depth of solemnity and emotion of Bach‘s music Ìs immeasurable, and off the charts
0:02 Toccata
6:38 Adagio
11:28 Fugue
What a magnificent performance!
Vraiment superbe magnifique l’adagio accompagné de la profondeur et du velouté du prestant de 32 pieds et féerique merci à vous pour ce merveilleux moment
What splendid playing. I love the tempi and rhythmic drive. Really exemplary.
Mooi de macht te hebben op zo'n mooi orgel.
Absolutely sensational.
Great. Got to hear him play a longer piece on his "green monster", and Bach too. From Chicago, U.S.A.
Dank voor deze indrukwekkende vertolking van dit meesterwerk.
I love the registrations, particularly in the Adagio - I love that in the joyous fugue you keep pretty much the same registrations throughout and let the music and your phrasing speak.
Ik vind het geweldig!!!! Tempo is subliem; Bach is grandioos; wat had deze man een gevoel voor muziek; voor de combinatie van noten, akkoorden en toonladders.
A fantastische compositie von Herr Bach! Inspirerend gespeeld!
Bravo!...maravilloso.
Fantastic!
fabulous instrument well played, gorgeous, many thanks
Bach heeft in zijn jeugd ongetwijfeld onderwijs gehad in de retorica. De volmaakte beheersing van de muzikale retorica is een van de kenmerken in Bachs muziek die hem tot een van de grootste, zo niet de grootste componist aller tijden maakt. Sietze de Vries is een vaardige en inspirerende 'naverteller' van het muzikale verhaal dat Bach in deze Toccata ons vertelt.
Beautiful!
Magistral!!!!!
MARAVILLOSO!
Utterly magnificent! Thank you!
Wow, that organ and that piece must be responsible for converting many a disbeliever, heavenly! Me too almost! Just wish there was some illumination of the pedal parts.
Dios!, que sonidos tan hermoso y celestiales, no hay comparación con nada ,gracias.
Éste Órgano tiene un sonido precioso!...gracias. Felicitaciones es una grabación hermosísima.
I think the best performance of BWV 564m with Koopmann...ance with the organs!
Suonata DIVINAMENTE, mi ricorda molto il modo di esecuzione del Grande compianto Karl Richter.
Davvero SUPERLATIVO
Absolutely stunning! Bravissimo!
Prachtig Sietze, een heerlijke swung/puls in het hele werk!
Geweldig!
Volmaakte perfectie. Dit geweldige drieluik staat als een huis.
Eccezionale!!!!!
Einfach nur schön diese super Darbietung 😊
Bravo!!!!!....
Totally magnificent!
¡¡¡Bravisimo maestro
..muchas gracias por tan grandiosa musica en tan grandioso organo!!!
Maravilloso
stupenda esecuzione bravissimo complimenti
Fantastisch, prachtig gespeeld, op een prachtig instrument. De audiokwaliteit is werkelijk subliem, de enorme diepte en ‘rumble’ van de 32 voets prestant is uitstekend waar te nemen met een hoogwaardige koptelefoon. Ik hoop het orgel binnenkort eens in het echt te kunnen beluisteren.
Heerlijke uitvoering. Top!
Bravo!
정말 멋진 연주 고맙습니다😍👍👏
Bach se emocionaría! 🌹🌹🌹
I’ve heard this played live and it sent shivers through my spine. Amazing work
You might like Wilfried Schnetzler's performance of this. That's my favourite. Yes, an amazing work, as is the Dorian.
Great playing! Majestic organ sound!
Sehr gut gepielt mit gutem Rhythmus und ebenso Registrierung! Kleinste Verzierungen, Verzögerungen ganz wunderbar.Danke!
Dies sei ergänzt durch den Hinweis, daß es sich bei der Hauptorgel der Martinikerk Groningen um ein ganz außergewöhnliches Instrument handelt.
In der Tat eine besondere Orgel
Spiegazione ed interpretazione magistrale, Maestro Ruggero. Di fughe Doriche ne ho ascoltate almeno una decina e questa è senz'altro una delle più ricche di sfumature espressive, per capire e carpire l'animo di Bach e di ciascun interprete.
In questa le voci si distinguono sempre, si rincorrono e qui ogni nota frase è ben compresa, ha un suo contesto, una sua collocazione nella ritmica, nell'armonia e nello spazio. Bach ingegnere del suono, oltre che sublime compositore. Nulla è frutto del caso.
Ogni volta l'abilità espressiva di questi grandi interpreti, esegeti, aggiunge qualcosa al divino che ci affanniamo a nascondere con cura nel nostro quotidiano.
Se chi dovesse governare il mondo capisse il messaggio della musica e delle arti non sarebbe concepibile tanta grettezza ed egoismo.
La vita è molto più bella se concentriamo la nostra attenzione sul nostro essere, piuttosto che sul nostro avere.
hervorragend gespielt. Chapeau.
chapeau!
Thank you ! 😃
25 jaar geleden heb ik dit stuk ook in een kerk voor publiek gespeeld. Zo'n plezier om alle drie stukken te spelen. Die solo pedaal partij in de Toccata in het begin en dan de victorieuze twee accoorden waarna de melodie in herneemt, dan de emotionele adagio en tot slot de glorieuze fuga. Het geweldige in de overgangspassages in deze fuga is dat ze altijd naar iets toewerken (hoewel dat eigenlijk wel iets typisch Bach is maar hier overduidelijk).
Super!
Astonishing ! Congrats Sietze :)
Damien
Dopo aver evocato i maestri nordici nel primo movimento, Bach scende in Italia e precisamente a Venezia per immergersi nella melanconia lagunare per poi risvegliarsi con la chiara e trasparente stupefacente fuga conclusiva .
"Sodeknetter, kouwe jatten" -SdV
:-)
Божественная музыка органная 😎 😍 😃 😄
Leuk om je de BWV 564 na vele jaren na je cd opname, weer eens te horen spelen. Wij zijn als ik me niet vergis van hetzelfde bouwjaar 1973. Jij nam hem op als broekie, ik beluisterde hem als broekie. Ik ben benieuwd of je net als toen voor de dezelfde registratie hebt gekozen in het middendeel. Met name het slot daarvan maakte toen indruk met de prachtige verzadigde prestantklank.
Fun!
Die tongwerken hebben echt toon en ratelen niet! Ahrend is een echte kunstenaar. Zelf les gehad op een orgel van hem (Haarlem, Doopsgezinde Kerk). Dit stuk ken ik (zelf nooit geprobeerd) maar hier hoor je het als het ware opnieuw. Prima tempo, vooral niet te snel willen gaan.
One of my favourites pieces from Bach. Wonderful performance ! Thank you.
Kun naar blijve kijken en luisteren.
Weergaloos
't kon minder ( op zien Grunnens)
nee..niet
@@luciedevries4583 in het Gronings betekent dat het grootste compliment
First comment! - Nice !
Well played. The organ has a great middle and top but leaves much to be desired in the pedal for my taste especially in the first movement.
If I were you I would buy better headphones or speakers so you can fully enjoy the 32 foot sound in the pedal.
Sietze de Vries, you are not the only one. There are many of you who believe that the pedal solo is music to be interpreted. The pedal solo is not music, but an etude for two feet, and should be played as quickly as possible whitout sounding like you are struggling. If Bach wanted a musical expression, why do we never find a pedal solo in his organ compositions from his adult life? The pedal solo is an element of «show off» and those who criticize «show off» are unfamiliar with human nature.
'Niet slecht' (dit om te voorkomen dat VdS helemaal buiten zijn schoenen gaat lopen)
Wat is VdS
@@renedeheer4303 Iets met op z'n achterste vorens??? :)
Aren’t there small mistakes like at 4'49?
(I'm no organ specialist)
Great artist though.
Is it not allowed to make small mistakes in a live performance?
@@sietzedevries6159 De vraag was er volgens mij één naar feiten, niet naar een eventuele normoverschrijding.
@@sietzedevries6159 Niettemin lijkt mij toch dat het in principe niet toegestaan is fouten te maken in een live uitvoering voor een professioneel musicus. Daarvoor heb je toch gestudeerd, om foutloos te kunnen spelen? Wat als Janine Jansen regelmatig een D in plaats van een C zou spelen, of überhaupt slecht zou intoneren, ze zou afdalen naar een amateurorkest, toch?
@@JPGroen Het woord 'regelmatig' is in dezen cruciaal. Natuurlijk probeer je zonder fouten te spelen en terugkerende fouten en slechte intonatie zijn onacceptabel. Maar gestudeerd hebben om foutloos te spelen: dat lijkt me afschuwelijk. Janine Jansen boeit in de eerste plaats omdat ze geweldig muziek maakt, niet om dat ze foutloos speelt. Volgens de legende zei Beethoven dat hij fouten kon vergeven, maar zonder passie spelen niet. :-)
The small mistakes add to the charm of your performance. I keep going back to it. I simply adore the way you interpret the Adagio.
I have not been able to read the rest of the replies, but I do hope no offense has been taken.
0:00 Toccata
6:38 Adagio
11:28 Fugue