Musician Malcolm Kogut has been tickling the ivories since he was 14 and won the NPM DMMD Musician of the Year award in 99. He has CDs along with many published books. Malcolm played in the pit for many Broadway touring shows. When away from the keyboard, he loves exploring the nooks, crannies and arresting beauty of the Adirondack Mountains, battling gravity on the ski slopes and roller coasters.
Showing posts with label rodgers. Show all posts
Showing posts with label rodgers. Show all posts
Wednesday, October 30, 2013
Organ Stop List
People have repeatedly asked my for a spec sheet for the Rodgers organ I played on for my recent Halloween recital. Here it is.
Thursday, December 13, 2012
Toccata and Fugue in D Minor
This is me having fun with the great Toccata and Fugue in D Minor at a Halloween Organ Recital. Historically this piece is recognized as being composed by J. S. Bach but musicologists, organists and Bach scholars have long questioned whether Bach actually wrote this piece. Technically, here is nothing specific about Bach in it. It is actually believed that the original piece was not in D minor, not a toccata and fugue, not for the organ, but for the violin and written in A minor.
http://youtu.be/TkjF2Vtzwjs
A few of the many reasons that Bach scholars question its authorship is 1) Bach would not have ended the piece with a minor plagal cadence (take a peek at his Little Fugue in G Minor as an example of how he would have ended it). 2) Bach would not have started the piece in octaves. 3) The original manuscript was written in D minor but without a flat. 4) It is not in the intellectual style of Bach. Certainly the piece was written to dazzle and show off but it does not have the contrapuntal sophistication of Bach and, the fugue is not at all complicated or brilliantly worked out as much of Bach's other fugues are. 5) The diminished seventh is used throughout the piece repetitiously and rather naively.
The original manuscript was in the handwriting of Johann Rinck (Johannes Ringk) who was a student of Johann Peter Kellner. Kellner knew Bach and was a student of Johann Christian Kittel and Kittel was Bach's last student. Many music scholars beleive that the piece was actually a composition of Kellner's which Rinck copied since it is in Kellner's style.
The greater question is: Does anyone care? Not in the least. It is still a great piece of music hitting the bulls-eye for generations of listeners.
http://youtu.be/TkjF2Vtzwjs
http://youtu.be/TkjF2Vtzwjs
A few of the many reasons that Bach scholars question its authorship is 1) Bach would not have ended the piece with a minor plagal cadence (take a peek at his Little Fugue in G Minor as an example of how he would have ended it). 2) Bach would not have started the piece in octaves. 3) The original manuscript was written in D minor but without a flat. 4) It is not in the intellectual style of Bach. Certainly the piece was written to dazzle and show off but it does not have the contrapuntal sophistication of Bach and, the fugue is not at all complicated or brilliantly worked out as much of Bach's other fugues are. 5) The diminished seventh is used throughout the piece repetitiously and rather naively.
The original manuscript was in the handwriting of Johann Rinck (Johannes Ringk) who was a student of Johann Peter Kellner. Kellner knew Bach and was a student of Johann Christian Kittel and Kittel was Bach's last student. Many music scholars beleive that the piece was actually a composition of Kellner's which Rinck copied since it is in Kellner's style.
The greater question is: Does anyone care? Not in the least. It is still a great piece of music hitting the bulls-eye for generations of listeners.
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