polyphonies You have to find it in a different way. I feel my instrument does get rather a bad press, sometimes; probably because players will use the most obvious features - loudness, playing lots of notes very fast - losing sight of what Bach found so attractive about the organ - using it as a beautiful way of creating musical line. " Given the immense variety of the uvre, ranging as it does over the whole of Bach's life, and containing everything from tiny Chorales to immense Preludes and Fugues, how did he approach planning the series? "My favourite listener is the man in the street," he says, "someone who is interested, knows of Bach and, while he's at the Festival, would like to come to an organ recital. It's the same as with the recordings - each one is a concert in itself. " Llike the great critic Ernest Newman, Hurford believes that "the Chorale Preludes are the key to the very heart of Bach". "In planning this series, I started with the Chorale Preludes - the `Eighteen', the Orgelbuchlein, and so on - and spread them through; the next thing was to choose good starting and finishing pieces - not necessarily loud for the latter, but one should always end with a big piece. The one mistake I feel I've made, so far, was ending the second programme with the Canonic Variations on `Von Himmel Hoch' - not enough zip. " And putting yourself in the place of the listener is important. "You have to learn to put your ears at the back of the church and think `What are they hearing?' Essentially the intensity of sound can be enormous - you have to be careful. I remember at a recital in Australia once, the organist played the Prelude and Fugue in D minor right through on full organ; it's one of the few times I've really recoiled on behalf of my instrument - people gradually got up and walked out! I'm lucky - I've got my wife as my `ears at the back'. " Silence, as he's already mentioned, is a big issue with Hurford.

polyphonies

polyphonies - The UP Singing Ambassadors - Aunque No Te Vi Llegar (polyphonies) The University of the Philippines Singing Ambassadors at the 51st International Contest of Habaneras and polyphonies of Torrevieja, Spain, with its interpretation of the obligatory piece "Aunque no te vi llegar" ("Although I didn´t see you arrive") - lyrics and music by Marta Valdés and choir version by Samuel Hernández -- which was qualified as "impeccable and worthy" for winning the trophy. Torrevieja, Spain 2005 (Press Alicante Spain) Duration of Video: 338 Related Labels: the, up, singing, ambassadors, UPSA, %22aunque, no, te, vi, llegar%22, ed, manguiat, torrevieja

	Albanie: polyphonies Vocales du Pays 200 x 196 (10 kB) Credit: http://www.answers.com
	polyphonies marines 600 x 450 (9 kB) Credit: http://forum.tourdumonde.be
	Corse : polyphonies fémininnes, 350 x 350 (17 kB) Credit: http://www.scpmusic.com

  polyphonies Posted at 7:31 AM