Hmm, the last one I recall, I tagged both you and Monica in a post about this video of the 847 prelude on organ. (Wanted to get your opinion on the concept, as opposed to the somewhat sloppy performance. Monica and I had a good conversation about the shoes, if I recall. Oh, and I found a guitar interpretation she liked.)

Oh, tagging, that is not quite 'trying to talk to'. So you wanted feedback on that video ! I remember seeing part of it and being disgusted. She's pretty enough but a theatre organist at best. No serious organist would take a harpsichord piece and turn it into organ mush.

I specifically sought out an organ recording of that piece because I wanted to hear what it sounded like. I like the sound; I just wasn't incredibly fond of the performance. (That was the only one I could find.) And Bach turned his harpsichord pieces into organ pieces all the time, didn't he? (If not mush.) From what I gather he transcribed things from instrument to instrument regularly. And now I have to apologize to Andreas for hijacking his thread.

First, I would like to excuse for my quite late answer. I had some private reasons (and they have nothing to do with you all here, of course!) I haven´t visited pianosociety a longer period.

Hi Eddy,
thank you for your comment.


At least I try so, too.



O.k., thank you for that advice. I appreciate listeners, who appreciate a good voicing and contrasts.

Johnlewisgrand wrote:

Thank you very much, John. This means very much too me. Yes, I´m conscious of the quite slow tempo in the prelude, but it was intentional, of course.

Rachfan wrote:


Thank you for your kind words and good thoughts, dear David, which I always find very inspiring! Yes, I share your opinion completely and I consider it to be my task as an interpreter of Bachs music to fill in these blanks. And I do it in a very subjective way sometimes. That´s what makes playing Bachs music so interesting. That there are millions respective thousands of possibilities to feel them and to put a sense into them, which lies beneath the objective structure. Sometimes I want to make "audible" some certain aspects of the structure, sometimes it´s a certain voice or melody I want to underline and often it´s a certain phrasing or articulation, which fits to my mood of the moment. I don´t consider my interpretations as something "steady" or "absolute", but as a kind of "picture of the moment", a kind of improvised interpretation.

Thank you very much also to you, Terez, for your praise and pointing out some more read errors. I will look for them and see, if they correspond to my Urtext-version.

I liked the fugue most. You have done a remarkable job finding your way inside all these dense musical windings.
As always your piano is finely tuned and has a clear-cut tone. Perfect for this material. Are you using any compression? If you are, I'd suggest you back down a bit because it makes the attacks in the mids somewhat harsh, an effect quite accented in the prelude.

Wiser_guy wrote:


Hi, Pantelis, thanks for your comment and your praise!



Thanks also for this. May be it´s a bit a feature of the brand Grotrian-Steinweg to have such a "clear-cut" tone as you call it. I have to say, I´m still very happy with that, of course especially for baroque material, but also for the other styles and epoques.



No, I´m not using any compression. I just put a bit level normalization, reverb and equalizer to the original. But may be I could reduce the mids with the eq a bit. I will see next time, how that works.
Thank you for your advice!