Johann Sebastian Bach: Aus tiefer Not schrei ich zu dir, BWV 686 [Binaural 3D Audio]

Caroline Robinson, organ
October 10, 2019
7:30 PM
Sacred Heart Cathedral
Rochester, NY
The Department of Organ, Sacred Music, and Historical Keyboards and
the Studio of David Higgs
Eastman School of Music
University of Rochester
Program:
Felix Mendelssohn: Sonata No. 3 in A Major, Op. 65
I. Con moto maestoso
II. Andante tranquillo
From Johann Sebastian Bach's Clavierübung III
Aus tiefer Not schrei ich zu dir, BWV 686
Dies sind die heil'gen zehn Gebot', BWV 678
Jesus Christus, unser Heiland, BWV 688
Wir glauben all' an einen Gott, BWV 680
Judith Weir: Ettrick Banks (1985)
Maurice Duruflé: Suite, Op. 5
I. Prélude
II. Sicilienne
III. Toccata
Recording Engineers: Ming-Lun Lee, Steve Philbert, Yuxiang Wang
Post-production: Ming-Lun Lee
3D Audio Research Lab
Department of Electrical and Computer Engineering
Audio and Music Engineering Program
University of Rochester
Microphone: Neumann KU100 Binaural Microphone #2
Camera: Sony FDR-AX33 Camcorder

[@jaapvandervlies1675]

Wat een mooie uitvoering! Top !

[@isaacfinkelstein1275]

Your tempo and articulation have the immense gravity this piece needs. This performance really soars sonically.

[@Durufle68]

Stunning playing! Top notch in every way

[@olaf963]

Super gespielt und registriert. Fantastische Leistung,besser kann man das nicht spielen. Bravo

[@ReuelRamos]

Sounds very grave, nice

[@uclcentreforperioperativem6462]

Wonderful majestic playing- thank you!

[@renaldtremblay8333]

Excellent Bach!

[@rsns311257]

Very good. You give all the emotion of this terrifying piece and the chorale is clearly audible!

[@elijarrous8881]

Really marvellous thank You very successfull

[@user-qj3jp8bh5b]

The best performance I have heard of this since Helmut Walcha's own recording - and that is a long time ago!

[@h3rotor783]

Beautiful. Thank you.

[@spiritualpolitics8205]

A lustrous interpretation; a Bach devotee, I have never encountered this BWV, a hale offering. Keep recording!!!

[@giancarlocagnani3123]

Thank you very much for this touching interpretation of this wanderful chorale !

[@compagnonnicolas4411]

Wow !!! Awesome !!!

[@Alessio-tt6pp]

amazing, great. super

[@jurajivanic4220]

Caroline, wonderfull performans choral J.S.Bach! Greetings from Europa - Croatia, Zagreb!

[@snetzler]

Glorious!

[@ryszarddabrowski4790]

Beautifull

[@magnusgro4366]

Excellent playing!

[@kohmekonisch7265]

A great performance of the greatest work!

[@preussenberlin8470]

Sehr schöner Vortrag. Auch nett anzusehen. Sehr feine Lady !

[@johnahorst2213]

Powerful masterpiece, wonderful playing

[@ryszarddabrowski4790]

Wspaniałe wykonanie.

[@kaiyusun9222]

Excellent

[@user-um1uo9qy3o]

21.15 UK time hurrah for young people when they play like this.

[@8Doriene]

Wonderful playing! Very convincing!

[@NimrodTargaryen]

Sublime! Enjoyed the performer’s full inmersión in the spirit of the music🎉❤❤❤

[@cornelisbom3902]

Werkelijk prachtig het stuk weergegeven , het orgel kleurt mooi mee !! Cornelis Bom .

[@charlottewhyte9804]

don,t know this piece but sounds awesome.

[@keplergso8369]

A 6 voices choral ! With two voices sometimes at the pedal ! I love this Prelude/Choral, I go and learn it. But I don't use only the pointes at the pedal, I use the heels too.

[@theonlywoody2shoes]

Whilst the organ stool here is height adjustable, most pipe organs are (historically) designed for a typically larger (adult male) human torso, so to ensure that the manual is at the correct height for her hands she appears to have the seat adjusted up a little, so that the pedal board is even further away for a slightly shorter stature. She is clearly pointing her toes to reach the lowest pedals, and the high heels suggest these are also less suitable for the “heel and toe” approach I (as a 6’ 2” chap) tend to use when playing the organ at my local church - which being a late 1980’s instrument (Viscount Grand Opera) has a fixed height organ bench which is also limiting to younger people looking to play at our church. Most organists find a pedal technique that works for them; and whilst it may appear “strange”, visually at least, the performance does not appear to be impaired by this, indeed without the video it would probably go unnoticed.

[@ke9tv]

@@theonlywoody2shoes All-toes is also consistent with some organ texts in the period. As far as the built-up heels go, I learnt to play organ with heel-and-toe technique using built-up heels. It kills my calf muscles trying to pedal in flat shoes. (And yes, I'm a 6'1" guy playing a 1970s organ.)

[@schrysafis]

Sounds great. Would 5'4" be too short for organ?

[@olaf963]

Fantastische Interpretation. Sauber gespielt und gut registriert. Besser kann man das für meine Begriffe nicht spielen! Bravo!!!

[@andre26071955]

Pro Organo Pleno Con Pedale Doppio, excellent performance!

[@marco14085]

Correct.

[@andrewpearce2562]

Excellent! Who is this magnificent organ by?

[@Durufle68]

I believe it is Paul Fritts

[@matthiaswilhelm9813]

Ich habe nur auf das Mädchen an der Orgel geachtet.Leider leide ich nach vielen Jahren Keyboardspiel gehörmäßig an der üblen temperierten Stimmung und wünsche mir für den Rest meines Lebens andere Tuning Tables,die nicht von Großmeister Bach kommen.Die Centabweichung nicht mehr reiner Quinten tuht dem Ohr schlecht.👻👻👻🙀🙀🙀💞💖👏👏👏

[@matthiaswilhelm9813]

Na❤mein gutes Mädchen.Ich lag tagelang im Bett mit bösem Rückenschmerz.😁😃😃😃❤da lindern Choräle,aus tiefer Not schrei ich zu dir! Schüttelfrost und Fieber.Wer da nicht krumm ginge,hat ein Kreuz getragen🤸🛌

[@MrGisela64]

na sowas!!

[@ibrahimtoledo]

She doesn’t look at the sheet music ?!!!

[@sameash3153]

It's a bad habit I also have. I need to see the pedals and manuals. I wasn't trained in piano, I'm a cellist. I can look away from the cello or classical guitar when playing but not the organ.

[@andre26071955]

If you can play it from memory, why not do so?

[@michaelberg9656]

It's very good, but I cannot hear the line played with the right foot of the pedal ( not sure what the correct term is.) There are a few new recordings of this piece on KZbin at the moment, and to me they all have that same problem. In Lionel Rogg's recording of 1970, on the Arlesheim Silbermann organ, it can be heard very clearly. Hear it at kzbin.info/www/bejne/ioq4maWNqbuFea8.

[@herrickinman9303]

The cantus firmus in long notes in the pedal part would stand out more if the piece were played a bit faster. After all, it's written in 4/2, not 4/4, which suggests an Alle Breve tempo. Also, if you added a 4' or mixture to the pedal, the c.f. would sound more prominent. It boils down to a choice of registration that will give more or less weight to pedal part. Six-part organ chorales are part of the north German tradition and were more common in the 17th-century; the c.f. typically appeared in pedal. But it's a mistake to assume that the c.f. was meant to stand out other than by the fact that it's in long notes. In many pieces from the Renaissance, a c.f. in long notes was present but was not the focus of the musical interest.

[@herrickinman9303]

I listened to the Lionel Rogg recording. I don't know how he manages to make the c.f. stand out, assuming he's playing it as the upper voice of two pedal parts. If so, then it's as if each pedal part has its own registration. I've never played an organ with a pedal that works like that. Any organists around who can shine some light of this: kzbin.info/www/bejne/ioq4maWNqbuFea8

[@michaelberg9656]

@@herrickinman9303 I'm not an organist but I suspect he just has a registration in the pedal that goes all the way up to 2ft. The organ is the Arlesheim Silbermann. No fancy couplers or split keyboards as far as I know!

[@kris6591]

tragedy of human creatures

[@ibrahimtoledo]

She doesn’t look at the sheet music?!!!

[@matthiaswilhelm9813]

Da braucht Sie auch nicht hinschauen,Sie müsste es wahrscheinlich so oft üben,das Sie auf die Noten verzichten kann.Die sind dann nur Zierte und liegen als MAGGI Küchenwürzer auf dem Pult der Orgel...👍👻👻👻😎🎹🐒👏👏👏😂😂😂🔥💕🌹

[@herrickinman9303]

@@matthiaswilhelm9813 In the Baroque, musicians typically played from a part unless they were improvising. The tradition of playing from memory began with Liszt, but he was playing his own music. Not to be outdone, other concert performers began playing from memory. Playing without a score was really just a dog-and-pony show, but the audiences loved it and came to expect it.