UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! Marcussen & Son Organ / St. Stefanuschurch / Moerdijk (Noord-Brabant, The Netherlands) (1965) - Samples by Ariaan Hoogendijk Bach, Johann Sebastian: Dorian Toccata and Fugue in D minor, BWV 538 Although unfortunately rivaled in popularity by BWV 565, the Dorian Toccata is a wonderful energetic piece requiring three equally balanced divisions, and the fugue is one of Bach's most thrilling works, well worth the time it takes to listen to. Carefully balanced registrations have been prepared using all three manuals, and a method of documenting all 11 of these in some sort of presentation package is a distinct possibility sometime in the future, in the meantime this knowledge will be hidden away in the Phantom's computers. For broadband users, or if you're extremely patient: Download (26.8 MB). [13:59] HW1 Bach, Johann Sebastian: Allein Gott in der Höh' sei Ehr', BWV 676 Bach again takes the word "Trinity" literally and constructs a scintillating trio. The sixteenth-note accompanimental pattern derives from the chorale, but then the chorale appears in dotted quarters, two phrases on the lower manual, two phrases on the upper manual; a phrase on the upper, another on the lower, and it finally appears in the pedal, echoed by the upper manual. In this virtual performance the chorale is emphasized by adding a reed stop. Registration: Pedal: Principal 16' (chorale adds Skalmeje 4') ;Brystvaerk: Traegedakt 8 ' + Rørfløjte 4' + Principal 2' (chorale adds Regal 8'); Rygpositif: Gedakt 8' + Gedaktfløjte 4' + Gemshorn 2' (chorale adds Krummhorn 8'. [5:17] Midi file available. HW1 Krebs, Johann Ludwig: Gott der Vater wohn' uns bei, Trumpet and Organ This track is from Krebs's unusual concerted chorales, which consist of an organ trio with one instrument enunciating the melody, thereby enabling the parish organist to take advantage of a visiting instrumentalist with very little rehearsal time, or perhaps to use gifted students from the congregation to enliven the music program. [4:51] HW1 Bach, Johann Sebastian: Adagio in A minor, BWV 564b The middle movement of the Toccata, Adagio and Fugue in C Major, this lovely piece is often played at weddings. [2:20] HW1 Bach, Johann Sebastian: Wir glauben all' an einen Gott, BWV 680 An exuberant setting of the German Creed, with the engaging syncopation in the manuals offset by a sturdy pedal motiv. This piece is in celebration of the completion of the sampling, so there are graphics to share. The registration at the beginning can be viewed here - nearly full organ at the end here and the entire WAV file is represented here. Congratulations, Ariann on a fine instrument. [3:4] HW1 Bach, Johann Sebastian: Pedalexercitium in G minor, BWV 598 Written for a student to practice the pedals, it is also a stunning display of the pedal resources on the Marcussen organ. Beginning on Principals 16+8, there is an echo on the Pedal 8 Principal alone, then the 4' Octav is added and for the echo the 8 Principal is withdrawn; then the Mixtur is added as well as the restored Principal 8; for an echo effect the Mixtur is withdrawn. There is no mistaking the pedal reed entrance - restored Mixture + 16 Dulcian + 8 Trompet, with an echo which withdraws the Trompet. Finally, full pedal: the Skalmeje 4 (this is usually called a Schalmei) crowns the entire division. No couplers were used in this demo. [2:4] HW1 Karg-Elert, Sigfrid: O Ewigkeit, Du Donnerwort, Op. 65, No. 42 Notes on score: "In Olden Style of the Suite" and "In the tempo of the dance-form called Rigaudon." Impulse reverberation added. [2:37] HW1 Bach, Johann Sebastian: Fantasia and Fugue in G minor, BWV 542 Flashes of mad improvisatory genius alternate with patches of calm serenity in the Fantasia, giving an idea of what it might have been like to hear the Master improvise. The fugue has two subjects, a long, cheerful one that modulates through several keys and a more purposeful counter-subject (D-G-F#-G) that establishes a firm hold on whatever key Bach has migrated to at the time. The Phantom has pulled out all the stops and taken some interpretive liberties with this one. [10:29] HW1 Bach, Johann Sebastian: Prelude and Fugue ("Wedge") in E minor, BWV 548 Heroic chord-punctuated recitative passages alternating with exhilarating episodes. The fugue is known as the "Wedge" because of the increasing intervals in the fugue subject, which look like a wedge on the manuscript paper. Its forward momentum, chromatic interludes and powerful counterpoint are thrilling. Together they constitute one of the most mature masterworks of J.S. Bach which add great stature to the organ repertoire. [14:19] HW1