This video, the fourth in Daniel Moult’s series on playing styles, addresses the German Romantic music of Mendelssohn and Brahms.

Tom Wilkinson considers the surviving early keyboard works of J S Bach, and suggests that his codification of tonal harmony, and his ability to employ it at the service of structure, began back in his teenage years.

Daniel Moult’s third video on the playing styles for different organ schools covers the North German Praeludium and Fuga.

For musicians and composers who could afford to travel in the nineteenth and early twentieth century, Leipzig became a focus of pilgrimage.  As a leading centre for enlightened music publishing, with its association with Bach and Mendelssohn, not to mention having one of the finest opera houses in Germany, it attracted composers in search of […]

William Whitehead examines the question of Mendelssohn’s articulation markings in his organ music, and discusses what these markings might imply for performance.  This article originally appeared in the RCO Journal of 2012. RCO Journal 2012_Whitehead  

Hans Leo Hassler (1564-1612) was arguably the most distinguished member of a Nuremberg family, and  among the first of a succession of German musicians to further their studies and stylistic development in Italy. Christopher Kent describes his life and times, with analysis of his organ works, and discussion of registration based on the possible stop […]

Margaret Phillips describes how she approached a truly unique recital challenge – performing the complete organ works of Bach in recital, not once but twice, and on two instruments of very different size and style.