Recorded this afternoon, the big brother of the namesake BWV 764 I already had up the site. In the Clavier Ubung, Bach sometimes offers the same chorale in two or more versions, usually one small and simple, and one big and elaborate. The differences are amazing.

There's a couple of tiny frays here, but nothing really embarrassing I think. This is the first time I fiddled with the stops while playing, added 3 registers for the grandiose coda, where God himself seems to step down from the heavens. I hope you enjoy that magic moment.

Bach - Clavier Übung III - Chorale Prelude BWV 671 - Kyrie, Gott heiliger Geist

Did you get a glance of him? I have always wondered if he (she?) wears a beard.

Nice playing, you could not have much time for changing the registers.

Not being a religious person, I don't think I could see Him.... So not sure what He looks like. But if God has a sound, then this must be it. I hope to do record one day on a real good organ in a real good church. Preferable with someone pulling the stops


Indeed, this took quite some planning and excercise. And still the coda is a little slow in coming on because of it. But I could not be bothered to edit.

Beautiful piece, and you played that complex thing very good! Some small slips (or "tiny frays" as you call it) but really no big deal.
Why don't you like the sound of that organ as it is? To me, it sounded very good, full and rich registration.
Maybe it is easier to draw or footswitch a couple for two manuals in the coda instead pulling several stops? The coda was not slow in coming, instead it makes sense to breath a bit here. Just right!

Actually, for all it sounding complex, this is a lot easier than that previous short Kyrie I submitted.

It's not that I do not like this sound, it is adequate, but a grand piece like this it can sound so much more majestic with a proper big Baroque organ in a more resonant ambiance.


I have no footstops on this organ, and I had most of manual 2 coupled onto manual 1 already.
In the coda, all pipes sound, except for Unda Maris and Tremolo which I never use (amazing the wind machine can take that strain). I now have to first toggle the Krummhorn button (which is the right side) with my LH, while RH takes double duty for a quarter bar, and 2 bars later simultaneously toggle 16ft Prestant and Nasard (which are on the left side) with my RH, while LH takes double duty. Bit of a contortionists' act, and I was surprised to get it done at all without too much disturbance.

I could make it easy on myself by pushing the 'Tutti' knee button on the front, never mind these two extra registers. But all this would not be possible on a mechanical transmission organ unless I had someone to help (I think most organists have a registration assistant when concertizing or recording).