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 Wagner, Richard: Bridal Chorus The Phantom Organist has delivered the first 65 measures, which ends on a quiet chord. Probably more than the average church organist ever plays for the Bride to come in. [1:28] HW1 Bach, Johann Sebastian: Wachet auf, ruft uns die Stimme, BWV 645 a transcription of the 4th movement of Cantata 140 for the 27th Sunday after Trinity (based on Matthew 25:1-13), which has the text "Zion hears the watchmen singing" (verse 2 in the lyric). [3:31] HW1 Mouret, Jean Joseph: Trumpet Fanfare As director of the Concert Spirituel in Paris, Mouret composed a great deal of music for chorus and orchestra and for orchestra alone. Directing such a company is a study in insanity anyway; the company failed in 1734, Mouret lost his various positions, and at the end went quietly crazy. Charenton, where he died, is the seat of the famous insane asylum. His work established the French Baroque orchestral tradition. This track probably sounds familiar, because the BBC used it as the theme for its Masterpiece Theatre series. It features a 4 manual layout which you can view here. [1:57] HW1 Brahms, Johannes: Herzlich tut mich verlangen (I) In this first setting of the Passion chorale, Brahms places the melody in the soprano voice, decorated with passing tones. The interval of a rising second and a rhythm that emphasizes the 2nd and 4th (weaker) beats play a major part in the pedal part. [2:0] HW1 Brahms, Johannes: Herzlich tut mich verlangen (II) A restless accompaniment in the manuals adds urgency to the passion chorale as sounded in the pedal. [2:20] HW1 Bach, Johann Sebastian: Kyrie, Gott Vater in Ewigkeit, BWV 672 Gentle flutes in 3/4 time sound the opening Kyrie of the Small Lutheran Organ Mass for one manual. [1:14] Midi file available. HW1 Bach, Johann Sebastian: Herr Gott! dich loben wir, BWV 725 This Chorale Harmonization shows what it must have been like to sing hymns in a Lutheran Church of Bach's time. The instructions to alternate manuals are part of the score, and put one in mind of antiphonal singing between choir and congregation, or the later practice of the left and right sides of the choir alternating verses in English churches (Decanus, the Deacon's side, and Cantoris, the Cantor's side). [6:53] HW1 Bach, Johann Sebastian: Vater Unser im Himmelreich, BWV 683 Quiet and meditative setting in four voices on one manual (8 Principal) from the small Organ Mass. [1:22] Midi file available. HW1 Guilmant, Alexandre: Elévation No. 2, (From Opus 60) An evocative whisper of a familiar Noel tune. [1:21] HW1 Marcello, Benedetto: Psalm XIX Probably chosen nearly as often as the Mendelssohn Wedding March for the Bride and Groom to exit the church, this happy march enhances any festive occasion. [2:13] HW1 Karg-Elert, Sigfrid: Herr, wie du willst, so schick's mit mir, Op. 65, No. 36 The Pedal is used mostly as an organ point, with beautiful expansive arpeggios surrounding the soloed-out Chorale. Impulse reverberation added. [3:47] HW1 Sweelinck, Jan Pieterszoon: Echo Fantasia 2 (Ionian) In this version the term "echo" is taken literally, with Principals 8 + 4 + 2 on the Huvudvaerk echoed by Brystvaerk Traegedakt 8' and Rørfløjte 4'. [3:6] Midi file available. HW1 Franck, César: Sortie in F Major From Franck's collection "L'Organiste, 59 Pieces for Harmonium" rendered here on the organ. The structure is quite plainly A-B-A, with a few pedal notes added for the reprise. [4:31] HW1 Kellner, Johann Peter: Was Gott tut, das ist wohlgetan Unmitigatingly cheerful chorale setting. [3:42] HW1 Boëllmann, Léon: Menuet from Suite Gothique A spirited wedding recessional designed for a large group to exit the church. 4 manual virtual organ viewable here. [2:55] HW1 Bach, Johann Sebastian: Partita on Sei gegrüsset, Jesu gütig, BWV 768 This partita has more sections than the original hymn. Schweitzer suggests that there were two partitas, one for manuals alone, the other including pedals. The variety of meters and treatments is amazing, even for Bach. [17:2] HW1