SOPP252: Speed is a wonderful gift to have, but speed is an illusion

This question was sent by Steve and he writes: Good morning Vidas, Another very fine podcast topic, very helpful, and thank you for posting. A couple of additional thoughts came to my mind as I listened to the podcast ... When I pedal this piece, I keep in mind the type of organ for which it was written. On French organs there's a stiffness in the pedals, because of linkage, that makes it a little more difficult to use the heels in rapid passages. Using the toes allows you to lean into the pedal more. So, with the opening theme, I keep the pedal legato with the right toe on D, stepping over it with the left toe taking C and Eb. Same with the F and Gb, I use the toes only ... right toe on F and left toe on Gb. The left heel could be used on the first note C, but if we use the right heel on D and F it's more difficult to get those 16th notes short enough, especially when the tempo is faster. I don't play this Toccata extremely fast ... for many reasons, but one reason is so I can get those 16th notes in the theme just right. It's hard to take in the countryside at 500 mph. It's the same with music. I've heard many organists using the heel on D with phrasing that isn't written into the score, who detach the C's and Eb's and hold those 16th notes on D too long. This changes the character of the theme completely. I also nuance the music at important places by inserting pull-outs (stretch-outs), with a slight slowing of the tempo when something else starts, like with the return of the theme in the pedal toward the end. Those big pedal octaves have to come out clear and even, and can't be taken too fast to give those big pipes time to get on speech. The ankles have to move very quickly here with both heels on D and be synchronized with each other, which automatically sets certain technical bounds to speed. A slight slowing of the tempo also helps to get those arpeggios in the hands to come out clean and clear. Speed is a wonderful gift to have, but speed is an illusion. The instrument in its own acoustical setting will suggest its own tempo by the way it breathes and responds to the organist's touch. Racing through this Toccata at tornado speed is something I avoid like the plague. That's virtuosity, but not serving the music. I'm a clarity guy, and it's just what sounds best to me. Steve This blog and podcast is supported by Total Organist - the most comprehensive organ training program online where you will find courses for every area of organ playing, including technique, practice, sight-reading, repertoire playing, hymn playing, improvisation, composition, music theory and harmony with hundreds of scores and thousands of exercises. To become a member of Total Organist, get your 1st month free and start supporting this blog, go to http://www.organduo.lt/total-organist. Also, if you haven't yet subscribed to receive free updates of this blog, make sure you do that at http://www.organduo.lt. By subscribing you will also receive free video "How To Master Any Organ Composition" and 10 Day Organ Playing Mini Course.