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Michael Whytock

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About Michael Whytock

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  1. With regard to the videos... The first video is exactly how I tried to perform the works (without the hand movements but with feeling and musicality). I like his performance because I like the way he treats the music. The phrasing is very good and I love the way he finishes of each phrase and doesn't rush into the next phrase. There is breathing space and the piece doesn't appear to run away. I feel the holding onto/slight tenuto of the 4th note of each subject really adds something to this performance. I especially like the way he milks the end bars, taking time and adding trills to prolong
  2. This is there comment...'Your slow tempo militated against a sense of momentum, although you adhered to it with tenacity. The pedal 'theme' was delivered as a series of somewhat disconnected notes (well I am not going to play it legato and romantic am I??). Your varied registrations made for quite an engaging effect but the stylistic appropriateness of the ornamentation which you added seemed less certain (why? I was ornamenting in all the right places). Ultimately your manneristic delaying of the first beat of nearly every first beat vexed the ear and compromised the effective projection of t
  3. Thanks all for you advice. Yes I have made presumptions about things which are infact presumptions made by my tutor. I posted this question having just received the result for my ARCO examination. The examiners are professional and I do not doubt their credibility, however failing me on a note perfect performance of a Buxtehude piece because they didn't like the ornamentation or any of the stylistic things I included in the piece has made me wonder if my excessive 'Historical performance' let me down? I put a lot of effort into what my tutor called ‘making music. Not just playing notes’ an
  4. Ok well then forget Koopman. Anyway that doesn't answer the question.
  5. Hello all… I have a query regarding the RCO exams and Baroque performance. As most people are aware, one of the pieces you pick has to be by Bach – Baroque. There is also a whole list of other Early Music works to pick from the Renaissance to the Baroque Now in my eyes, there are two ways of playing Early Music This way is stylistically accurate and utilises traditional Early fingering and pedalling indication, traditional Early Music registrations, and traditional phrasing and articulation. To pull off the performance, the student has maybe played authentic instruments of the period
  6. Hello all I'm at my wits end as the title suggests and need help from anyone, particularly those to whom this may involve. Let me tell you about myself... I went to a secondary school. Didn't do well in my GCSE's so didn't do A levels and did some music college course instead. However, I went on to complete a BA (hons) in music at Chichester University and an Mmus degree at Southampton University, studying composition under the direction of renowned composer Professor Michael Finnissy. I am an organist. I came into the organ through the piano route, not the route of a choriste
  7. Hello I'm having a slight problem with my pedal technique and I am wondering if anyone has any experience of my problem or if they can offer any solution? Now, I'm sure it's common knowledge that, to play pedals, you sit with your knees together and play with the insides of your feet (toes). Now my problem is that I am Pigeon Toed and have knocked knees which means when I put my feet together and point the toes in a straight line, my knees bend inwards. Now, I was told that you know you are playing pedals correctly when you can put both feet side by side of two white notes and
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