After my organ and improvisation studies with Jan Welmers at the Utrecht Conservatory, we remained closely related, first as colleagues and later, when he retired, as good friends visiting each other a few times a year. For over twenty years now, we have been making long walks in nature, watching birds and at the same time discussing a variety of personal and musical issues. Regarding the latter, it seems to be a good moment now, as we said to each other a few days ago, to reflect on the studies and conversations by means of this blog, which may be of interest to anyone involved in the art of playing the organ and music in general. As there is so much to say, it will be a series of blog posts, to be continued over the years. I do not yet have a structured approach to present it and shall for the time being just write about what comes to my mind.
During our meeting last week, we discussed the importance of piano playing for organ students. Jan regretted the fact that in the late '60s, due to the rise of the early music movement, the side subject piano was often replaced by harpsichord. As a result, organists became less concerned about their toucher, which of course negatively affected the sensitivity of their playing. It would have been more appropriate and in line with general habits of the 18th century, to restore the practice of clavichord playing. A lack of refined toucher will show itself immediately when playing the clavichord or the piano, while it can be hidden in a certain degree at the organ or the harpsichord (not on a high level, of course).
This does not mean that Jan Welmers did not sympathize with the early music movement; on the contrary, the fully participated with it. What makes him rather unique, is that as a composer in the '60s and afterwards, he was also involved in the avant-garde. Being in the heart of two different fields largely contributed to his interesting, open-minded views on both.
