UPDATED 05/30/2009

FEATURED INSTRUMENT CONCERT   Your support is necessary to continue this service. Even a small donation will help. F. A. Mehmel Village Church Organ, St. Andreas Church, Nehringen Mecklenburg-Vorpommern, Germany (1868) - Samples by Prof. Helmut Maier Reger, Max: Sollt' ich meinem Gott nicht singen?, Op. 67, No. 36 Chorale is sounded most often in the pedal, although in Ms. 10-13 it appears in the soprano, and again at the end, where the composer resists his penchant for octave doubling, though not his tendency to ask for a crescendo from triple forte to Organo Pleno. [2:22] HW1 Reger, Max: Straf mich nicht in deinem Zorn, Op. 67, No. 37 Chorale alternates between the tenor voice (brought out on a different manual) and the soprano. [1:26] HW1 Reger, Max: Valet will ich dir geben, Op. 67, No. 38 Three manuals adapted to two. If this be a Palm Sunday processional, it is from the donkey's point of view. [1:27] HW1 Reger, Max: Vater unser im Himmelreich, Op. 67, No. 39 The choral is sounded in the soprano voice on the "Swell" and Pedal, and repeated on the "Choir" with octave doubling in the soprano. For one phrase only the "Great" (and Pedal) is indicated, echoed by a slightly louder "Choir." Since this organ is 2 manuals, the Hauptwerk serves as both "Swell" and "Great", the "Choir" is assigned to the Hinterwerk. [2:4] HW1 Reger, Max: Vom Himmel hoch, da komm ich her, Op. 67, No. 40 Festive setting with the Chorale in the soprano, sometimes in octaves, and a versatile pedal part. In all fairness, the composer envisioned a very large organ with expression pedals and smooth crescendos, but the sudden increases in sound with smaller unenclosed organs do provide a kind of thrill. [2:4] HW1 Reger, Max: Wachet auf, ruft uns die Stimme, Op. 67, No. 41 The Chorale alternates between the pedal and the soprano voice, ending with octaves. A triplet rhythm predominates from measure 27 until the end. Since the organ has no enclosed divisions some of the dynamics are implemented with general combinations. [2:19] HW1 Reger, Max: Von Gott will ich nicht lassen, Op. 67, No. 42 The alternative text is "Mit Ernst, o Menschenkinder," and this short piece does not lack earnestness. The Chorale is sounded at 8', 4' and 16' pitch in the Pedal. [1:57] HW1 Reger, Max: Warum sollt' ich mich den grämen?, Op. 67, No. 43 Alternates between strongly rhythmic Hauptwerk and simple hymnlike Hinterwerk. [2:0] HW1 Reger, Max: Was Gott tut, das ist wohlgetan, Op. 67, No. 44 Chorale appears in the pedal until slightly over half-way through, whereupon it reverts to the soprano accompanied by flashy footwork.Chorale appears in the pedal until slightly over half-way through, whereupon it is in the soprano. [1:44] HW1 Reger, Max: Wer nur den lieben Gott lässt walten, Op. 67, No. 45 Subtitled "Zu ernst Liedern" ("To a serious tune"), this setting starts out soft and gets softer. [1:10] HW1 Reger, Max: Wer nur den lieben Gott lässt walten, Op. 67, No. 46 Subtitled "Zu Liedern freudige Inhalte" ("To a tune with joyous contents"), the tune resides in the soprano voice and the pedal joins the other voices in a dancelike 12/8 meter. [1:1] HW1 Reger, Max: Werde munter, mein Gemüte, Op. 67, No. 47 The tune is always in the soprano voice, and triplets adorn the third phrase. [1:8] HW1 Reger, Max: Wer weiß, wie nahe mir mein Ende!, Op. 67, No. 48 Marked "Langsam nicht schleppend" ("slow but not dragging"), the chorale is on its own manual, using all 8' stops in differing combinations as a colorful attempt at suggesting dynamics as indicated in score. [1:20] HW1 Reger, Max: Wie schön leuchtet uns der Morgenstern, Op. 67, No. 49 Marked "Langsam" ("slow"), the chorale is mostly in the soprano (speeded up and an octave higher to begin with), alternating with pedal near the end. The Hauptwerk starts out simulating the Swell, and there is no mistaking when it becomes a Hauptwerk again. [1:50] HW1 Reger, Max: Wie wohl ist mir, o Freund der Seelen, Op. 67, No. 50 Marked "Ziemlich langsam" ("somewhat slowly"), the chorale is always in the soprano. Registration: Hinterwerk Geigenprincipal 8'; Pedal Violon 8' coupled to Hauptwerk Bordun 16. [1:12] HW1 Reger, Max: Jesus ist kommen, Op. 67, No. 51 The Chorale is on the Hauptwerk, and there is a canon in the Pedal (at 1 octave and 1 beat and then at 2 octaves and 1 measure). [0:55] HW1 Reger, Max: O wie selig, Op. 67, No. 52 The Chorale begins in the pedal and ends in the soprano register. [0:54] HW1