UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! F. X. Engelfried Organ, Gönningen/Baden-Württemberg/Germany (1844) - Samples by Prof. Helmut Maier Schumann, Robert: Canon 3, Op. 56 A brief introduction marked "Andantino" gives way to a lovely duet that is actually a canon at the 5th over a pianistic rhythmic motiv, which gives way to ascending two-note arpeggios, then reverts to the former style and ends as it begun, with a short humorous coda. For the pianistic figurations to be heard at all on the organ, the tempi had to be reduced considerably from the original markings. Registration throughout is: Pedal Subbass 16' + Oktavbass 8'; Hauptwerk (Canonic Duet) Principal 8' + Gamba 8' + Flauto 8' + Flauto Traverso 4'; Hinterwerk (Accompaniment) Gross Gedackt 8' + Salicional 8' + Gemshorn 4' + Flute d'Amour 4'. [2:0] HW1 Reger, Max: Te Deum, Op. 59, No. 12 The composer's tempi (Con Moto) were honored relatively so as to be able to hear the notes, but these include suppresssing a ritard before the Hinterwerk section and a somewhat frantic accelerando on the last page. [3:9] HW1 Reger, Max: Canon, Op. 59, No. 4 Canon at the 6th between left hand (Hinterwerk Grossgedeckt 8' + Salicional 8' + Gemshorn 4') and right hand (Hauptwerk Principal 8' + Gamba 8' + Flauta 8') with a time delay of 2 beats, supported by Pedal Violonbass 16' + Octavbass 8'. [1:16] HW1 Schumann, Robert: Canon 2, Op. 56 Marked "Mit innigem Ausdruck" (with intimate expression) , these beautiful melodies intertwine on the Hauptwerk with admittedly piano-like repeated chords on the Hinterwerk and a series of organ points and root position bass notes similar to the first canon. Rather than fuss with registration changes every measure or so and lacking expression pedals, the Phantom Organist chose three terraced dynamic levels based on ritards indicated in the Henle Urtext (original text) score. [4:6] HW1 Reger, Max: Schmücke dich, o liebe Seele, Op. 67, No. 34 Two contrasting sections between fuller (Hauptwerk Principal 8' + Octave 4') Pedal Subbass 16' + Octavbass 8'); and softer (Hinterwerk Grossgedact 8' + Flauto 4') divisions, both amazingly balanced with the same Pedal (Subbass 16' + Octavbass 8'). Triplets make a sudden, strong appearance in the second half of the piece, alternating with duple rhythms. [1:35] HW1 Schumann, Robert: Canon 4, Op. 56 Marked "Innig" (Introspective"), the canon at the 5th is sounded on the Hauptwerk, with the repeated chord accompaniment on the Hinterwerk. The time interval is adjusted slightly throughout. A dramatic transition (3 identical open-5th chords over the "missing" third in the pedal) leads to a new tempo, where 32nd notes prevail and, after a scattering of entrances in various keys, the interval of an octave is chosen for the new melody, often doubled in the bass. The decrescendo is symbolized by everything being played on the Hinterwerk. Drama is heightened by triplets appearing in the accompaniment, and then the Canon reëmerges on the Hauptwerk, again at the interval of a 5th. Introduction of daring chromaticism continues the trancelike state of this piece but gives way to a gentle repetitive ending. Registration: Pedal Subbass 16' + Violonbass 16' + Oktavbass 8'; Hauptwerk Principal 8' + Oktav 4'; Hinterwerk: Grossgedeckt 8' + Viola 8' + Gemshorn 4' + Flut d'Amour 4'. [4:35] HW1 Karg-Elert, Sigfrid: Mach's mit mir, Gott, nach deiner Güt', Op. 65, No. 29 Canon at the octave between Hauptwerk and top voice of the Hinterwerk. Registration: HW Principal 8' + Gamba 8'; HI Grossgedeckt 8' + Salicional 8' + Flute d'Amour 4'; PD Violonbass 16' + Oktavbass 8. Repeat HW Gamba 8'; HI Viola 8' + Flute d'Amour 4; PD Violonbass 16' + II/P. Ending: HW Flauto 8'; HI Gemshorn 4'; PD Violonbass 16' + I/P. [0:59] HW1 Schumann, Robert: Sketch 2, Op. 58 Similar in structure to the first sketch, the left hand falls off the organ keyboard, so adjustments were made utilizing the Pedal. [3:31] 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. [1:9] HW1 Reger, Max: O Jesus Christ, meines Lebens Licht, Op. 67, No. 31 Rapidly changing harmonies (Hauptwerk: Principal 8' + Oktav 4' + Oktav 2' + Mixtur IV Fach + Trompette 8') stand a better chance of being heard with these bright sounds. Chorale in the Pedal (Hinterwerk Clarinette 8' coupled to Pedal Posaune 16' + Subbass 16' + Oktavbass 8' ). [0:56] HW1 Schumann, Robert: Fugue 4, Op. 60 The fourth 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 marking translates "Moderately, but not too fast" and a 2-measure subject with an octave displacement in the 4-note motiv creates new opportunities. A counter subject enters about at measure 30 with the label "retrograde" ("backwards" - the first four notes become H-C-A-B). Particularly adventurous and Bach-like harmonic clashes occur over the organ point beginning in the second half of measure 63. The dynamics are indicated by the composer, although the diminuendo toward the end is my idea. [4:48] HW1 Reger, Max: Toccata, Op. 59, No. 5 Virtuosic showpiece marked "Vivacissimo." [2:4] HW1 Schumann, Robert: Fugue 3, Op. 60 The third of six fugues written on the name of Bach. This is marked for "Mit sanften Stimmen" ("with gentle voices") and is itself the gentlest of the six. Registration: HW Gamba 8' + Flauto 8'; Hinterwerk Grossgedeckt 8' + Viola 8'; PD Violonbass 16' + II-PD Coupler [2:20] HW1 Karg-Elert, Sigfrid: Sollt' ich meinem Gott nicht singen?, Op. 65, No. 22 Three manual organ part simulated on two using Generals. The Chorale is sounded first in the soprano part on the Great, then repeated in tenor register on the Hinterwerk Clarinet against Hauptwerk Flauto 8'. The last phrase is shared between the upper pedal part and then the Clarinet/Flauto combination. which is echoed on the Flauto alone with gentle pedal ending. [2:46] HW1 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. [7:16] HW1 Krebs, Johann Ludwig: Fugue in F, Br II:13 The subject of the fugue is inverted about halfway through, but comes in right side up at the end in the pedal. [2:34] HW1 Schumann, Robert: Sketch 4, Op. 58 Some of the pianistic devices may seem out of place on the organ, most notably the rolled chords in the middle section, but it is a humorous little piece that might generate a little chuckle at the end of a concert. [2:54] HW1