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UPDATED 03/18/2010
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- Sweelinck, Jan Pieterszoon: Variations on Pavana Hispanica
- Eight colorful variations by the two composers. Variation 1 is by Sweelinck, Vars. 2-4 by Scheidt, Var. 5 by Sweelinck, Var. 6 by Scheidt, Vars. 7-8
by Sweelinck. Var. 1 - Manuael Principael 8' + Roerpijp 8' + Octav 4' + Super Octav 2'; Var. 2 - RH Solo Borstpositiff Dulciaen 8' +
Gedackt 8', LH MN Roerpijp 8' + Spitspijp 4' + Octav 4'; Var. 3 - BP replace Gedackt with Floit 4', MN replace Octav with Super Octav 2;
Var. 4 - BP Gedackt 8' + Floit 4' + Octav 2' + Dulciaen 8'; Var. 5 - BP Octav 2' + Sijfloit 1' coupled to MN Roerpijp 8' + Octav 4' +
Quint 3'; Var. 6 - RH Solo MN Principael 8' + Octav 4' + Sexquialter; LH BP Gedackt 8' + Floit 4' + Octav 2' + Sijfloit 1'; Var. 7 - BP
as above, add Scherp; MN Octav 4' coupled to Pedael Bardon 16' + Octav 8' at end; Var. 8 - Principael 8' + Roerpijp 8' + Octav 4' + Super Octav
2' + Mixtuir, BP Floit 4' coupled to PD Bardon 16' + Octav 8' at end.
The Great organ of the Magnuskerk, Anloo, The Netherlands (1719) - Samples by Gernot Wurst
[5:2]
HW3
- Sweelinck, Jan Pieterszoon: Erbarm dich mein, o Herre Gott
- Spectacular in its own way, this set of six variations has medieval sounding harmonies, sudden rapid note onslaught, and one relentless beat per
measure.
The Casavant Frères organ (opus 2871) at St. George's Memorial Anglican Church Oshawa, Ontario, Canada (1966) - Samples by Ken Bales
[9:35]
MO
- Seixas, Carlos: Toccata 1
- Two movements: [Allegro], Minuetto, each in two parts with repeats. Score provided by Jonathan Orwig.
Cembalo Mietke built by Jan Becicka workshop (2005) - Samples by Jiri Zurek
[5:24]
HW3
- Soler, Padré Antonio: Sonata No. 9
- Two repeated sections, Two repeated sections, Although marked "Presto" the tempo never exceeds 160 BPM. Registration: Lower 8, repeat Upper 8, Lower 8
+ 4, repeat Comb. Pleno. The high "G" in Ms. 46 and 48 was outside the keyboard compass so the G below was used instead. Soler scores here.
Cembalo Mietke built by Jan Becicka workshop (2005) - Samples by Jiri Zurek
[7:16] (A=465)
HW3
- Bach, Johann Sebastian: Prelude and Fugue in G Major, BWV 550
- The prelude contains one unifying theme, which is utilized in a long pedal cadenza, interrupted by a transition marked with the tempo indication
"Grave" and followed by a Fugue "Alla breve è staccato" which is quite reminiscent of the "Gigue Fugue" in the same key.
Bosch-Schnitger Organ, Vollenhove/Overijssel (1686/1720) - Samples by Prof. Helmut Maier
[7:49] (a=420 Hz)
HW3
- Bach, Johann Sebastian: Wir glauben all an einen Gott, BWV 765
- Four voice contrapuntal treatment of the chorale associated with the Lutheran creed, the soprano states the chorale in augmentation (half speed).
Three levels of sound: (1) Burstpositiff Octav 2' + Sijfloit 1' coupled to Manuael Roerpijp 8' + Octav 4' +
Spispijp 4' , which is separately coupled to Pedael Bardon 16' + Octav 8'. (2) BP Gedackt 8' + Floit 4' +
Octav 2' coupled to MN Principael 8' + Octav 4' + Quint 3' + Super Octav 2' and to PD Bardon 16' + Octav 8'.
(3) MN Principael 8' + Octav 4' + Quint 3' + Super Octav 2' + Mixtuir, BP Dulciaen 8' + Floit 4' +
Octav 2' coupled to PD Bardon 16' + Octav 8' + Cornet 4'. Organ Silbermann Temperament.
The Great organ of the Magnuskerk, Anloo, The Netherlands (1719) - Samples by Gernot Wurst
[2:41]
HW3
- Walther, Johann Gottfried: Ach Gott! erhör meinem Seufzen
- For three voices on one manual, the chorale is playfully introduced with thirds in the upper voices. Registration: Prestant 8' (D) +
Holpijp 8' + Prestant 4' + Octaaf 2' (B&D).
Kellner Temperament
Score here.
Chr. Müller cabinet organ (1741) reinstalled in Maria-church of Oosterwijtwerd, Groningen (1845) - Samples by Hauptwerk.nl
[1:1]
HW3
- Bach, Johann Sebastian: Prelude and Fugue in C Major, BWV 547
- The prelude possesses a strong drive with some characteristic Bach lyricism and elegant modulations. Galloping 9/8 rhythmic motive using ample Manuael
and Pedael. The fugue starts on MN and goes to the Borstpositiff for an episode. When playing resumes on the MN, the subject in augmentation enters in
the PD, which uses the subject rectus and inversus for a stirring stretto. After several dramatic long chords, the fugue concludes with an organ point
in the PD and a last statement of the subject. Truly masterful counterpoint. Temperament: Kellner.
The Great organ of the Magnuskerk, Anloo, The Netherlands (1719) - Samples by Gernot Wurst
[9:19]
HW3
- Mozart, Wolfgang Amadeus: Fuga g-moll, KV 401
- The short distinctive subject appears rectus and inversus (right side up and upside down), and sometimes in parallel motion. Registration: Hoofdwerk
Prestant 8' + Octaaf 4' + Octaaf 2' + Cymbel 4-6 St., Rugpositif Nazard 3' + Octaaf 2' + Dulciaan 8' coupled
to Pedaal Subbas 16' + Holfluit 8' + Octaaf 4'
After pause HW adds Bourdon 16' + Trompet 8' + Mixtuur 2-4 St., RP adds Mixtuur 4 St.and PD adds Bazuin 16'.
Transcribed from piano 4 hands by Patrick Roose. Score
here.
Bosch-Schnitger Organ, Vollenhove/Overijssel (1686/1720) - Samples by Prof. Helmut Maier
[4:38]
HW3
- Walther, Johann Gottfried: Toccata con Fuga C-Dur
- Organ points in the Pedal support the Prelude (Manuaal Bourdon 8' + Octaaf 4' + Woodfluit 2', Pedaal Bourdon 16' + Viola di Gamba 8' + Violoncel 4' [+
Quint 3'] ) until the ending, which contains an almost bizarre chromatic half measure. The Fuga (MNl Prestant 8' + Octaaf 4', PDl add Octaaf 4' +
Woodfluit 2' [then replace 2' Woodfluit with Prestant 8'] ) is a very cheery affair whose only unusual feature seems to be some double pedal work
in the middle.
The organ of the former Hervormde kerk of Wirdum in the province of Groningen (1879) - Samples by Hauptwerk.nl
[6:27]
HW3
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