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Renaissance Organ in gothic church in Smecno, Czech Republic (ca. 1587) - Samples by Jiri Zurek
- Bull, John: The King's Hunting Jigg
- Wonderful 16th century dancing music with echo effects. Baroque sample set. A picture of the stops used can be viewed here.
- Vaòhal, Jan: Fugue No. 9
- Entrances of the attractively chromatic subject proceed as usual from bass to soprano, with a trill at the end signifying the next entrance (HW
Principal 8' + Octava 4' + 2' Superoctava). The trill is dropped when the fugue goes to the Rückpositiv (Copula Major 8' + Copula minor 4' +Qvint
1 1/3'.), mainly because the ending of the subject is never again the same as in the opening exposition. The bass voice is transferred to the
pedal for the final statement of the subject and concluding organ point (Subbas 16' + HW/PD coupler). A virtual 32' is added during the last measure
(Subbas low C not involving the coupler).
- Bach, Johann Sebastian: Symphonia to Cantata 12, BWV 012a
- Transcription of the 1st movement of the Cantata for the Third Sunday of Easter, known as Jubilate. The
text "Weeping, wailing, grieving, fearing, dread and need are the Christians' tearful bread" is merely an introduction to an ultimately redemptive
cantata. Registration: HW Principal 8' + Octava 4' + Octava 2' coupled with RP: Copol Major 8' + Copol minor 4' + Octava 2; Pedal: Subbas 16' +
Octavbas 8' + Superoctavbas 4' (one passage was transposed down an octave to accommodate smaller pedal compass).
Midi file available.
- Dowland, John: Captaine Digore Piper his galliard
- Five voices, in somewhat dissonant proximity, and three sections, each repeated. Special 6-manual version of Smecno Renaissance samples for playing
back recorder and other consort files. The two registrations can be seen here and (repeat) here.
Thanks are due to Alain Naigeon for providing the MIDI file and PDF score.
- Vaòhal, Jan: Fugue No. 6
- Gently swaying 6/8 meter with some Mozartean chromatic sweetness near the end. Registration: HW Gedackt 8' + Octava 4' + RP/HW coupler; RP Qvinta 1
1/3'; PD Subbas 16' at end. Close miking.
- Buxtehude, Dietrich: Es spricht der Unweisen Mund wohl, BuxWV 187
- Delicately ornamented chorale singing out on the Hauptwerk: Principal 8' + Gedackt 8' + Octava 4' + Nasard 2 2/3, accompanied on the Rückpositiv:
Copol Major 8' + Qvintadena 4' and Pedal Subbas 16' + Octav Bas 8' (at Ms. 35-36 the pedal part was transposed down an octave). The full text was
included for dramatic purposes, even though this is just a one-verse setting.
- Sweelinck, Jan Pieterszoon: Variations on Est ce Mars
- Seven variations on a popular song of Sweelinck's day. Registrations: Var. 1: HW S8 + O4 + II/I; RP C8 + Q4; Var. 2: HW P8 + O4 + II/I; RP Q2; Var.
3-4: HW G8 + O4 + Q3; RP C8 + C4 + Q4; Var. 5: RP C8 + C4 + P2 + O1; Var. 6: HW P8 + O4 + N3; RP C8 + Q4 + P2; Var. 7: P8 + O4 + Q3 + N3 + S2 + Mix +
II/I; RP: C8 + Q4 + Q2. For a pop-up table of these abbreviations, click here.
Midi File Available
- Martini, Padre Giovanni: Gavotte
- This began as an exploration of the Choro Primo and Choro Secondo functions of the Renaissance Extended Sample Set. But there are really three
manuals: the Principals as the Swell; the Flutes as the Choir, and a blank coupling manual as the Great. So rather than activate the two functions
with reversible pistons, the "echo" portions were created on separate manuals, allowing for a slight overlap. The form of the Gavotte is a Rondo, with
articulation varied ever so slightly every time the first section returns. The Principals used are Principale, Octava Principale, Super Octava
(8+4+2), the flutes are Salicinale + Copvla Maior (8'), Copvla Minor + Qvintadena (4')
- Buxtehude, Dietrich: Es ist das Heil, BuxWV 186
- Typical Buxtehude treatment: lightly ornamented improvisatory chorale with two voices on the Rück Positiv and pedal keeping up as best it can.
But what a burst of fresh air it would be if you had never heard something like this before. Registration: very simple, the Baroque set with
everything but the couplers.
- Ferrabosco, Alfonso (ii): Pavane
- Written for consort of four recorders and I suspect Viol de Gambe, transcribed for organ here with the Cantus on the Hauptwerk, Altus, Quintus and
Tenor on the Rückpositiv, and Bassus on the Pedal division. There are three sections, each repeated on a total of six registrations. Sec. 1: HW P8 +
O4 + Q3 + S2, RP C8 + C4 + P2, PD S16 + OB8 + CB4 (repeat) HW G8 + O4 + Q3, RP C8 + Q4, PD S16 + OB8; Sec. 2: HW P8 + O4 + N3, RP C8 + C4 + Q2, PD OB8
(repeat) HW G8 + S8 + Q3, RP C8 + C4, PD OB8; Sec. 3: HW G8 + O4 + Q3 + Cym, RP C8 + Q4 + O1, PD S16 + OB8 (repeat) G8 + O4 + Q3 + S2 + Mix + Cym, RP
C8 + Q4 + P2 + Q2 + O1, PD S16 + OB8 + CB4.
For a popup table of these abbreviations, click here.
Thanks are due to Alain Naigeon for providing the PDF score.
- Vaòhal, Jan: Fugue No. 5
- A fairly grand subject with some evocative development. Registration: HW Principal Chorus, PD Subbass 16' + HW/PD Coupler
- Pachelbel, Johann: Toccata in C minor
- A long series of organ points in the pedal support various textures typical of the baroque, with thirty-second notes prevailing. Extended Sample Set
(New Mixture) utilizing the full organ, with the exception of the manual to pedal coupler.
- Banchieri, Adriano: Suonata Quarta, Fuga Cromatica
- A little brighter tempo and lighter registration than my other interpretation, with all four parts played on the manual. Mutopia Project score is
Midi File Available
- Desprez, Josquin: Cueurs desolés
- Four voice motet transcribed for flute stops - Gedackt 8' for everything but the soprano, which is played on the vulnerable Copula Minor 4'. Close
miking allows a better perception of the beauty of these sounds. Many thanks to Alain Naigeon
for providing the MIDI file and PDF score.
Midi File Available
- Boehm, Georg: Capriccio in D-dur
- Light hearted fughetta briefly interrupted by scalar passage, virtuosic transition to a 3/4 version of the same material, a short passage of sextuplet
arpeggios in Common Time merging into a flowing 24/16 version with neighboring tones and octave leaps and ending with an organ point and cadence. Some
pedal notes added.
- Krebs, Johann Ludwig: Fantasia in F, Br II:06
- The Positiv has just one idea, repeated twice and at 2 pitches. The rest is Hauptwerk and Pedal. This version is for the "Live" Second Edition, but
you may also hear the original Smecno and the "Live" with Meantone tuning.
- Buxtehude, Dietrich: Canzonetta in C Major, BuxWV 167
- Three voiced fughetta. Meantone Temperament. Registration: Principale + VIII + XV + XIX + XXVI. Score provided by Boris Mudrinic.
Midi File Available
- Pachelbel, Johann: Wo Gott zum Haus nicht gibt sein' Gunst, 1st Setting
- Fughetta based on first phrase of the Chorale. Registration: HW Principal 8' + Octava 4' coupled to RP: Copol maior 8' + Quintadena 4' + Quinta
1 1/3; PD (doubles left hand for last statement): Subbas 16'.
- Purcell, Henry: Suite 5
- The movements are Prelude, Almand, Courante, Saraband, Cebell [Gavot], Minuet, Riggadoon, Intrada, and March, many of which have been transcribed for
organ. The Prelude begins almost as a two-voice fugue played on Hauptwerk Gedackt 8' + Octava 4' coupled to Rückpositiv Copol Major 8' + Copol
minor 4' + Octava 2' + Octava 1'; about halfway through it begins to change textures frequently. The Almand uses HW Gedackt 8' coupled to,
alternately, the RP Copol minor 4' + Qvintadena 4', whose overtones create an illusion of higher registers; a second repeat adds the HW
Salicional 8'. The Courante uses HW Gedackt 8' + Octava 4' + Cymbal, with Cymbal replaced by the coupled 2' and 1' stops on the Rückpositiv.
The Sarabande uses three soft 8' stops: HW Gedackt 8' + Salicional 8' + RP Copol Major, repeating without the HW Gedackt 8' but adding the
Qvintadena 4'. The Cebell is rather jaunty with several misdirected notes that are accurately rendered according to my score, registration is
the Principal chorus of the HW with the Qvinta 2 2/3' and the Cymbal being added near the end. The Minuet nearly omits the fundamental by using
only the Salicional 8' under the Octava 2' coupled to the RP Copol Minor 4'; for the repeat, registration is HW Gedackt 8' + Octava 2' coupled to RP
Copol Major 8' + Qvintadena 4'. The Rigaudon sounds like a popular tune of the day, with a childish, sing-song quality, first played on HW
Principal 8' + Octava 4'; near the end the Octava 2' is added, and then the former registration of the second Almand repeat - remember that
one? The Intrada was relabeled "Fanfare" by E. Power Biggs and given a da capo (that is, he repeated the first section again at the end); here
the trumpet-like melody is on every stop on the HW - with RP accompaniment using all stops except the 1'; for the repeat the HW Gedackt 8' and Nasard
2 2/3 and RP Qvinta 1 1/3' are retired. The concluding March uses the HW Principal Chorus coupled to everything on the RP except the Quintadena
4'; for the repeat, the HW Mixtura is replaced with the Cymbal; and the RP Octava 1' is replaced by the Qvinta 4'; a little relief is provided near
the end by going to the RP, then returning to the HW. To accomplish these registration changes in MIDI, 20 Generals have been added to the organ