SOPP397: I have purchased several of your fingerings of old music and find them extremely useful
b"This question was sent by Rob and he writes:\\n \\nDear Vidas and Ausra,\\n \\nI have purchased several of your fingerings of old music and find them extremely useful. When I learned to play the organ in the 60s, I was taught a legato style that, for example, discouraged using the same finger consecutively for different notes. It\\u2019s liberating to see you doing this all the time, and your method makes my playing feel more natural and more musical.\\n \\nI have two questions. First, is your fingering method standard for 16th-18th c. organ music or is it to some extent personal? Would you and Ausra, for example, come up with essentially the same fingering for any given early piece? Second, following on from that, how important do you think it is for a student to stick closely to your fingerings? Right now I\\u2019m learning Bach\\u2019s Passacaglia with your fingerings and I like them a lot. But occasionally they lead to my making mistakes that I wouldn't ordinarily make using a more modern style. For example, in mm. 204-7 during the fugue, the left hand has a pattern of arpeggiated 16th notes at intervals of a third, with three descending groups per measure. You finger all three groups 4-2, 4-2, 4-2, which I find hard to play without hitting wrong notes and becoming choppy. It\\u2019s much easier for me to use 2-1, 4-2, 5-3. In a case like this, would you recommend that someone try to master your fingerings, as being more authentic and conducive to a better interpretation in the long run, or is it legitimate to adapt them to one\\u2019s personal comfort? \\n \\nWith thanks and best wishes to you both,\\n \\nRob"