Overlegato

After a period in which, as heritage of the 19^th century, legato playing was the norm, organists beginning around the 1980s adopted non-legato playing as the standard.  Reconsidering this development gives occasion for some greater nuances, particularly because the consistent use of non-legato playing results in the same uniformity that was the goal in legato playing.  In this article the author argues that by using over-legato in the right place and in the right amount, a more varied sound is created, that even has a dynamic effect.  He illustrates this with examples from diverse organ works.