Baskeyfield knows how to tell a story with the organ,

and there seems to be no literature he cannot interpret convincingly.

The American Organist


“Astounding virtuosity and musicality”
-Choir & Organ

“From the opening notes Baskeyfield revealed his masterful artistry, creating a brooding and imposing atmosphere through careful attention to building long phrases.”
-The Diapason

“These performances are eminently musical, making better sense of the music than most other renditions.”
-Organ Canada

“Confidence, communication and dash.”
-Choir and Organ

“Excitement and exhilaration”
-Organists’ Review

“Exquisite playing… breathtaking.”
-Choir and Organ

“A real tour de force of registration and musical sense.”
-The American Organist

“A commendably intuitive musical mind.
-Voix des Arts

“Clarity and rhythmic verve.”
-Montreal Gazette

“The heavy-duty program, played entirely from memory, progressed from Bach through Mozart and Liszt to a substantial representation of the French “symphonic” school of organ music… it’s hard to imagine a more commanding performance of the Final from [Vierne’s] Sixth Symphony. Baskeyfield’s feet flew flawlessly up and down the pedalboard in one of the trickiest pedal parts in the organ repertory.”
-Dallas Morning News

“Baskeyfield is setting the world on fire at this point… It was so good, by the intermission I went back to my office, and I asked him if he would come back next year.”
-Kilgore News Herald

About David

If, during his performance on the organ at church, any one near him coughed, sneezed, or blew his nose with violence, he would instantly quit the instrument and run out of church, seemingly in the greatest pain and terror, crying out that it was old scratch who tormented him and played on his creation. About the year 1737, on account of his occasional insanity, he was superseded at St. George's church by the late Mr. Keeble, an excellent organist, intelligent teacher and a worthy man. The harmony in the voluntaries is rendered intolerably harsh and ungrateful by a licentious and extravagant modulation, and a more frequent use of the sharp third and flat sixth, than any composer with whose works I am at all acquainted, not excepting Dr. Blow; and his double fugues are so confused by the too close succession of unmarked subjects, that it is impossible, at the end of the performance, to remember what they are.
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