Below are video performances of music played by Dr Michael Spacie. Included are pieces by composers such as Widor, Bach, Walther, Granados and Schubert.

The recital begins with the well-known ‘Widor Toccata’ played by Dr Michael Spacie on the piano from the full organ score. The piece harks back to the influence of baroque forms especially with the toccata style and J. S. Bach et al., the idiomatic writing being somewhat reflective of the clavier, especially harpsichord both in construction and effect. Thus, Widor may well have originally conceived this piece for piano and added an organ pedal part which merely reinforces the harmonic bass line and also provides octave reinforcements save for a few ‘horn calls’ to create tension in the music, especially prior to the return of the main theme. Widor makes extensive use of △7 which is a bright sound and strong musical colour and which may well be a contributory factor as to why the piece has wide appeal. The toccata does lend itself to varying approaches for performance: the inherent toccata style (‘touch’) of technique through linear thinking with specific articulation, or a more deliberate presentation with emphasis on the various changes of harmony; however, a combination of both approaches is certainly not impossible. Furthermore, in this performance, Dr Michael Spacie has ‘stopped’ a selected bass note series for this toccata with a book to depress the selected keys during the performance in order to allow harmonics and overtones to continue sounding creating a reverberation similar to an organ-like effect, albeit the book is removed to enable the final bass octave work to have the necessary space.

Next is the spectacular ‘Italian Concerto’ BWV 971 by J. S. Bach. (Each of the three Concerto movements were recorded separately for ease of reference and listening.)

The Concerto is followed by the exuberant Chorale Prelude on ‘In dulci jubilo’ BWV 729, also by J. S. Bach; this is followed by two other Chorale Preludes.

Next is the performance of Schubert’s ‘Marche Militaire Op. 51, No. 1’ which is sympathetically realised bearing in mind the capabilities of the fortepiano contemporary of the time of Schubert; the structure of the piece is ternary (ABA) march form with central trio in contrasting but related keys; the piece culminates with a ‘quasi-orchestral’ tutti given out with enhanced texture.

The Schubert march is followed by a performance of an impressive array of some keyboard music by little known composers.

This is followed with ‘Goyescas No. 4 Qujas ó la Maja y el Ruiseñor’ by Granados and J. S. Bach’s ‘Prelude and Fugue No. 24 in B minor’ BWV 869.

To complete this page of music are video performances of Dr Michael Spacie’s 45 compositions for piano.


Michael Spacie on Vimeo