Segundo Tiento de Quarto Tono

For those interested in early music and especially that of Arauxo, I include a doctoral dissertation on Francisco Correa de Arauxo Performance practice by Iina-Karita Hakalahti.
I stumbled on it on the internet searching for information, so I guess it is allright to post it on the concert hall.

I'm not an expert on Spanish organ music. I've been exploring pieces for the Concert Hall for about a year now and uploaded a number, living in Spain and being interested in the country and the culture.

What struck me while listening to recordings of Spanish music played by Spanish organists on Youtube and Spotify, where there is lots about. is, that they tend to play the same pieces quite different from each other. Tempi, registration, articulation and fingering often differ.

Ofcourse we ALL play differently, but if you compare a few well-known Bach pieces played by a few organists, the differences are there, but there is also a kind of unspoken mutual consensus about how to do it within boundaries.

This I do not recognize in the playing of Spanish pieces by Spaniards.

So in my own playing I tend to go my own way, keeping some reading I did in mind.
This Tiento struck me as a melancholic and subdued piece, so I played it like that.
Also the description of the modus leads to that.

But to hear another approach listen to the grande dame of Spanish organ music:
Montserrat Torrent:
https://www.youtube.com/watch?v=n56OfTwDX94

I don't know which one is wrong or right and not even IF there is wrong and right in this case and many other cases.

Those who want to know more, please plow through the Performance Practice book.
I could not muster up the courage to do so......