UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! St. Anne's Church, Moseley, Birmingham, England (1874) - Samples by Martin Dyde Gigout, Eugène: En forme de Légende In Memory Of My Mother, Ruth Pressler, 1920-2006 Who Passed Away Yesterday Quietly In Her Sleep R.I.P. In three sections: Andante, Quasi Allegretto and Tempo Primo, with a grand climax near the end that gradually recedes to the quiet way it began. [5:15] HW2 Stanford, C. V.: Prelude 3, Op. 101 No. 3 Marked "Allegro non troppo" and played entirely on the Swell with the mostly staccato Pedal enhanced by a few stops from the Great coupled down, a cheerful glow surrounds this gentle piece. Thanks to Tom O'Driscoll for the score. [1:55] HW2 Brahms, Johannes: Fuge für die Orgel A 2-measure chromatic fugue subject with a recognizable 3-note component is presented both rectus (right-side-up) and inversus (up-side-down), some softer interludes on the Hinterwerk over an organ point provide welcome relief from the sternness. The key changes from 7 flats to 2 sharps about halfway through and then back again, so smoothly one wouldn't think about it if one weren't looking at the score. On the last page, the three notes are used in both eighths and quarters, which I tried to emphasize, and then Brahms makes use of them in staccato with an extra eighth rest, with the rest of the fugue subject in dotted quarters again interrupted by quarter rests. The work was published in 1864, much earlier than his other organ music. Possibly it is so dark because of the recent death of his friend Robert Schumann. Uses Bradley Lehman temperament, "not just for Bach anymore." Registration is viewable here. [5:0] HW2 Bach, Johann Sebastian: Kleines harmonisches Labyrinth, BWV 591 Some of the most anfractuous harmonies ever to surround C Major. It is in three sections, Introitus, Centrum, and Exitus, tempo Andante, and ending with an organ point in the pedal. Uses the Bradley Lehman Temperament. A version in so-called equal temperament is also available. [3:24] HW2 Bach, Johann Sebastian: Fugue in G minor ("Little"), BWV 578 One of Bach's most charming and well-known pieces, this piece flows like well-oiled baroque machinery. Some of the extra trills are the Phantom's idea, though. Kirnberger 3 tuning. [3:21] HW2 Lübeck, Vincent: Prelude & Fugue in F Major Lübeck was a contemporary of Bach although 31 years his senior (1654-1740). Lesser-known these days, he was supposedly one of the most prolific composers for organ but only a handful of his compositions have survived. While not as melodic or harmonically complex as Bach's, Lübeck's works have an energy all their own. Rendered in Silbermann tuning. [3:2] HW2 Dupré, Marcel: Ave Maris Stella IV, Opus 18, No. 9 Finale: an energetic staccato-ridden toccata in the manuals, Choral in the pedal. A screen capture of the final chord and registration can be viewed here. [1:58] HW2 Buxtehude, Dietrich: Canzonetta in G, BuxWV 171 Two sections in this charming little piece, the first with scurrying repeated notes, the second a lilting variation on that theme in 12/8 meter. Uses Gabler temperament. [2:17] HW2 Krebs, Johann Ludwig: Fugue in Cm, Br II:11 Straightforward 4 voice fugue, three on the Great and one on the Pedal. The trill that is part of the fugue subject is subtly varied. For the technically minded, the registration consists of the forte and piano buttons, which are blind reversible additive combinations, that have been altered and saved to a combination file, contents viewable here. [2:37] HW2 Stanford, C. V.: Prelude 2, Op. 101 No. 2 Marked "Allegro non troppo e pesante" and fairly virtuosic, this piece would make a good processional or postlude. Thanks to Tom O'Driscoll for the score. [1:59] HW2 Bach, Johann Sebastian: Jesus Christus, unser Heiland, BWV 688 Part of the German Organ Mass, this setting has a jazzy wedge-like motiv that moves between keyboards, with the chorale sounded slowly in the pedal. Uses Brad Lehman temperament. You may view a screen capture of the registration here. The pedal was modified slightly by hand during virtual performance. [4:11] Midi file available. HW2 Bach, Johann Sebastian: Erbarm dich mein, o Herre Gott, BWV 721 Surprisingly comforting music with a gloomy text. The Phantom always found it reassuring at funerals. Subtle rubatos throughout attempt the verisimilitude of a real performer. Young temperament. [3:54] HW2 Reger, Max: Herzlich tut mich verlangen, Op. 67, No. 14 Very traditional compositional technique is used here, only the harmonic vocabulary and dynamics would give away its German romantic origins. This track demonstrates blower noise (faded in and out) and tremulants of the new Hauptwerk 2 version of St. Anne's. [1:50] HW2 Bach, Johann Sebastian: Herzlich thut mich verlangen, BWV 727 One of the treasured tracks on an early Albert Schweitzer recording the Phantom Organist acquired in his tortured teens. This shows the new Tremulant and Swell Shade capability of Hauptwerk 2. [1:49] Midi file available. HW2 Leclair, Jean-Marie: Sarabande From the French Baroque, this is a sweet but plaintive air. In Brad Lehman temperament with impulse reverberation added and +6dB output volume. [3:7] HW2 Vierne, Louis: Prélude, Op. 31, No. 5 Sweetly evokes a wistful accordion or distant carousel. Uses Meantone 5 temperament. Registration can be viewed here. [3:31] Midi file available. HW2 Bach, Johann Sebastian: Trio Sonata No. 6, BWV 530 The last of the 6 trio sonatas has three movements: Vivace (G Major) - Lento (E minor) - Allegro (G Major). Werckmeister III temperament. Screen captures of divisionals used are here Key: All divisions 1 for first and last movements; all divisions 2, 3, 4 and 5 for middle movement [2 parts and their repeats, in order]. Also captured are the main console as registered for Movements 1 and 3. [14:6] HW2 Krebs, Johann Ludwig: Fugue in Eb, Br II:12 A cheerful little fugue subject with occasional syncopations. There are three playful false entrances in the tenor voice about halfway through, each followed with a correct entrance in the bass (pedal). It ends with a pedal point and final statements of the fugue subject in alto and soprano voices. Output at +2dB. Temperament: Well Tempered 7th Comma. [2:4] Midi file available. HW2