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UPDATED 03/18/2010
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- Stanley, John: Voluntary 1 in C Major, Op. 5, No. 1
- Four Movements: Adagio ("Diapasons" - Swell Violin Diapason 8' + Octave 4' coupled to Great Open Diapason), Andante ("Trumpet" - Swell
Closed Horn 8' + Orchestral Oboe 8', "Echo" - Great Claribel Flute 8' + Dulciana 8'), Slow ("Swell" - Violin Diapason 8' + Lieblich Gedeckt 8'
+ Echo Gamba 8'), Allegro ("Echo" - SW Violin Diapason 8' + Lieblich Gedeckt 8' + Octave 4' + Piccolo 2' [box closed until end] and "Flute" -
GT Claribel Flute 8'). Pedal ad lib throughout. Stanley scores.
St. Augustine's Anglican Church, Neutral Bay, Australia (1929) - Samples by Nicholas Appleton
[8:19] (a=426 Hz)
HW3
- Reger, Max: Erschienen ist der herrlich' Tag, Op. 67, No. 8
- Easter Chorale appears in the Pedal with impassioned motives swirling above. Registration: Hauptwerk Oberwerk Gedeckt 8' +
Rohr-Flöhte 4' + Nasat 3' + Octava 2' + Qvinta 1-1/2' coupled to Hauptwerk Principal 8' + Octava 4' +
Octava 2' + Mixtuur 4 f. and to Pedal Posaunen-Bass 16' + Octaven-Bass 8.
The virtual Gottfried Silbermann organ of Großhartmannsdorf (1741) -Samples by PipeLoops
[2:4]
HW3
- Brahms, Johannes: Prelude and Fugue in G minor
- The second of a pair of Preludes and Fugues. Wonderfully improvisatory throughout, with flashes of virtuosity in both manuals and pedals.
The Casavant Frères organ (opus 2871) at St. George's Memorial Anglican Church Oshawa, Ontario, Canada (1966) - Samples by Ken Bales
[5:34]
MO
- Mendelssohn, Felix: Sonata V, Andante con moto
- Restful Siciliano with staccato pedal. Man. 1 Prestant 8' + Holpijp 8' (Man. 2 Quintadena 8'), Pedal Subbas 16' +
Prestant 8'. Coupling Manual alternates with Man. 1. Martinus Temperament
The Bamboe organ of the Protestant community of Roeselare Belgium (1995) - Samples by Hauptwerk.nl
[3:19]
HW3
- Mendelssohn, Felix: Sonata VI, Fuga
- Fugue is based on the first phrase of German Chorale for Lord's Prayer, with the meter changed to 3/4. Registration: G.O. Montre 8' +
Prestant 4' + Quart Nazart 2', Positif Trompet 8' (B&S, prepared), Pedal Bourdon 16' (G. O.) + Bourdon 8' +
Prestant 4' + Nazart 2-2/3 (Pos.). When the chorale appears in the PD a second time, it is supplemented with Krumhooren 8' (Pos.),
reverting to the first registration because of the organ point in the PD, at which point the Chorale appears in the tenor voice on the Pos. Trompet.
The first increase of volume adds Fourniture 3 St. to G.O. and Doublet 2' and Tierce 1-3/5' to PD (Pos.), the second couples Pos. and
adds Trompet 8' (B&S) to G.O. and Bombarde 16' to PD (G.O.). Young Temperament.
The van Peteghem-organ of Haringe, Flandres (1778) - Samples by Hauptwerk.nl
[2:35]
HW3
- Schumann, Robert: Canon 2, Op. 56
- Marked "Mit innigem Ausdruck" (with intimate expression), these beautiful melodies intertwine on the Manuael with repeated chords on the Borstpositiff
and a series of organ points and root position bass notes.
Three dynamic levels: (1) Manuael Principael 8' + Roerpijp 8', Borstpositiff Gedackt 8' + Floit 4', Pedael
Bardon 16' + Octav 8'; (2) Octav 4' + Spitspijp 4' added to MN, Octav 2' added to BP; (3) BP
Gedackt 8' + Floit 4' coupled to MN Roerpijp 8' and to PD Bardon 16'. Martinus Temperament.
The virtual Gottfried Silbermann organ of Großhartmannsdorf (1741) -Samples by PipeLoops
[4:5]
HW3
- Reger, Max: O Lamm Gottes, unschuldig, Op. 67, No. 32
- Chorale played without embellishment on the Hauptwerk, slippery syncopation on the Oberwerk, an occasional dotted rhythm in the Pedal. Registration:
RH Chorale on Hauptwerk - Principal 8' + Qvintadena 8' + Octava 4' + Spitz-Flöhte 4' + Qvinta 3',
LH on Oberwerk Gedackt 8' + Rohr-Flöhte 4' + Gemshorn 2',
Pedal Sub-Bass 16' + Octav-Bass 8'. Overall Tremulant.
The virtual Gottfried Silbermann organ of Großhartmannsdorf (1741) -Samples by PipeLoops
[1:27]
HW3
- Schumann, Robert: Fugue 6, Op. 60
- The last of six fugues written on the name of Bach (B-A-C-H, in modern notation Bb-A-C-B) which Bach himself used "The Art of the Fugue." The tempo
indication at the beginning is "Mäsig, nach und nach schneller" ("Moderately, more and more rapid") and at Ms. 59 "Lebhafter" ("Livelier"). The
materials are the 4-note theme and a triplet motiv that alternates with duple rhythm throughout, creating an almost breathless effect at the faster
tempo, which contains many organ points which create curious concomitant discord and swaths of huge chords at the end.
The virtual Gottfried Silbermann organ of Großhartmannsdorf (1741) -Samples by PipeLoops
[7:34]
HW3
- Franck, César: Fantaisie in C Major
- In four main sections, marked Poco lento - restful with a canon in the middle; Allegretto cantando - containing rather virtuosic counterpoint; Quasi
lento - sometimes startling sonic buildup and letdown; and Adagio - strangely comforting, like the soft movements at the end of each Mendelssohn
Sonata.
St. Augustine's Anglican Church, Neutral Bay, Australia (1929) - Samples by Nicholas Appleton
[8:29] (a=426 Hz)
HW3
- Stanley, John: Voluntary 5 in D major, Op. 5, No. 5
- Two Movements: Slow ("Diapasons") and Allegro ("Trumpet" and "Stopt Diapason"). Slow Swell Open Diapason 8' + Principal 4' coupled to
Great Open Diapason 8' + Principal 4'. Allegro SW Gedact 8' (B & T) + Viola di Gamba 8', GT Trumpet 8'
or Stop Diapason 8' (B & T) + Flute 4'.
In Allegro uncoupled Bourdon 16' doubles bass line ad lib, usually but not exclusively in Trumpet sections. Stanley scores.
Joseph Hart, Little Waldingfield, Suffolk, England, (1809) - Samples by Lavendar Audio
[5:21]
HW3
- Franck, César: Chorale III
- Dedicated to "mon élève Augusta Holmes," this is the third of the monumental Trois Chorals written near the end of Franck's life. It includes the
sumptuously beautiful Adagio in A Major, which is often played by itself. Equal Temperament.
The Great organ of the Magnuskerk, Anloo, The Netherlands (1719) - Samples by Gernot Wurst
[10:59]
HW3
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