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    The organ of Boezemkerk in Bolnes (Ridderkerk) Holland (1959) - Samples by Hauptwerk.nl
    Dupré, Marcel: Magnificat II, Opus 18, No. 11Download View Lyrics
    Choral and Canon on Pedal Schalmey 4' bolstered by Positiv Prestant 4' + Gemshoorn 2' + Nasard 1-1/3' with an attractive motive used throughout the accompaniment on Great Roerfluit 8' + Gedeckte Fluit 4' + Mixtuur IV-VI. Martinus Temperament. [1:14] HW3.23
    Zachau, Friedrich Wilhelm: Ach Herr, mich armen SünderDownload
    Bubbly LH first on Man. 1 Rohrfluit 8' + Octave 4' + Octave 2' with RH Chorale Man. 2 Kromhoorn 8'; then on LH Man. 2 Holpyp 8' + Speelfluit 4' + Gemshoorn 2' with RH Chorale Man. 1 Trompet 8' + Praestant 8'; then as before. PD Subbas 8' + Praestant 8' for all. -10dB, Temperament: Kirnberger 3. [1:29] HW2>3
    Karg-Elert, Sigfrid: Komm, Heiliger Geist, Herre Gott, Op. 65, No. 39Download View Lyrics
    Pretty much a neobaroque treatment with the Chorale in the Soprano throughout, but with a surprise ending. WellTemperament-Young [2:5] HW2>3
    Weckmann, Matthias: Fuga in D minorDownload
    Three sections. Sostenuto in Common Time: Man. 1 Praestant 8' + Octaav 4' + Octaav 2' + Mixtuur 4-6 sterck; Man. 2 Kromhoorn 8' + Praestant 4' coupled to Pedal Subbas 8' + Praestant 8'. Poco allegro in 3/2 time: Man. 2 Holpyp 8' + Praestant 4' + Gemshoorn 2' + Nasard 1-1/3' + Scherp 1'; Man. 1 Praestant 8' + Octaav 4' + Octaav 2' coupled to Pedal Subbas 16'. Allegro moderato in Common Time: Man. 2. as above coupled to Man. 1 Praestant 8' + Octaav 4' + Octaav 2' + Mixtuur 4-6 sterck + Trompete 8'; Pedal Subbas 16' + Praestant 8' + Fagot 16'. Valotti-Young Temperament. [6:14] HW2>3
    Bennett, John: Voluntary in FDownload
    Adagio on SW Holpyp 8' + Speelfluit 4' + Gemshoorn 2''; Allegro on GT Praestant 8' + Octaaf 4' + Octaaf 2'; relief on SW (- Speelfluit + Praestant 4' + Nazard 1-1/3'), and then is coupled to GT; Adagio adds GT Mixtuur 4-6 Sterck + Trompet 8; coupled to PD Fagot 16' + Praestant 8'. Temperament: 1/10 Comma [4:32] HW2>3
    Titelouze, Jean: Urbs JerusalemDownload View Lyrics
    Three versets, the first with an elongated Cantus Firmus in the Pedal, the 2nd and 3rd with simulated 3rd manuals. MeanTone Sixth Comma Temperament. [8:48] HW3.11
    Burney, Charles: Fugue in F minorDownload
    The four-voice fugue is played on the Great, with a planned crescendo of the coupled Swell about 3/4 of the way through. Valloti-Young Temperament. Registration on request. [3:26] HW2>3
    Reger, Max: Benedictus, Op. 59, No. 9Download
    Written for 3 manuals, but easily rearranged for two. The introspective meditation on "Swell" and "Choir" is interrupted by a fugue on "Great," all with appropriate Pedal. Registrations here. [3:12] HW3.11
    Krebs, Johann Ludwig: Freu dich sehr, O meine Seele, Br III:04Download View Lyrics
    Chorale in Soprano voice with characteristic figuration permeating the other three parts, similar to the treatment J. S. Bach used often in the Orgelbüchlein, but with much more syncopation than Bach would have used. Vallotti-Young Temperament. [1:31] HW3.11
    Buxtehude, Dietrich: Nun bitten wir den Heiligen Geist, BuxWV 209Download View Lyrics
    The calm prayer-like mode is occasionally interrupted by ecstatic outbursts. RH lightly ornamented chorale tune on Positiv Kromhoorn 8' + Holpyp 8', LH on Great Roerfluit 8' + Gedeckte Fluit 4', Pedal Subbas 16' + Praestant 8'. Young Temperament. [2:12] HW3.30
    Reger, Max: Fantasie, Op. 63, No. 8Download
    Marked Vivace, starts on Expressive Positiv which is mostly coupled to the Great. At one point there is a sudden tempo increase. Martinus Temperament. Interesting article on century-old debate about Reger's tempos here. [3:13] HW3.11
    Bach, Johann Sebastian: Jesu, der du meine Seele, BWV 752Download View Lyrics
    Very simple canon at the fourth between RH (Man. 1 Trompet 8', then Man. 2 Kromhoorn 8', then Man 1 Trompet 8' + Octaaf 4') and LH (Man. 2 Praestant 4' + Gemshoorn 2' + Nasard 1-1/3' played 8va lower, then Man. 1 Trompet, then Man. 2 Kromhoorn 8' + Praestant 4') with a running bass in the Pedal (Subbas 16' + Praestant 8'). WellTemperament-SeventhComma. Score edited by Pierre Gouin, available at WIMA: Werner Icking Music Archive [1:6] HW2>3
    Reger, Max: Fugue, Op. 59, No. 6Download
    Beginning on the Positiv and Pedal and not moving to the Great until the halfway point, the tempo and dynamic instructions have been followed very closely. Fasten your seat belts. Martinus Temperament. [3:0] HW3.11
    Karg-Elert, Sigfrid: Alles ist an Gottes Segen (Fughetta), Op. 65, No. 3Download View Lyrics
    Cheerful setting with a fugue-like beginning but mostly homophonic with dynamically terraced interludes and a harmonically rich final cadence. Registrtion: Man. 1 Prestant 8' + Octaaf 4' + Octaaf 2' + Mixtuur 4-6 St., "Swell" on Man. 2 Holpyp 8' + Praestant 4' + Gemshoorn 2', "Choir" on Man. 2 Holpyp 8' + Speelfluit 4', Pedaal Subbas 16' + Praestant 8'. Young Temperament. [0:55] HW3.11
    Froberger, J. J.: Ricercare XIIDownload
    The basic motive has the outline of a triad and in the first section there are fugue-like entrances. The second section uses the same motive but in 3/2 meter. The cadence however is in alla breve meter, which is used for the third section with a new motive is used, consisting of three ascending notes with syncopations. WellTemperament Werckmeister III. [2:24] HW2>3
    Bach, Johann Sebastian: Komm, heiliger Geist, BWV 652Download View Lyrics
    The second of Bach's 18 Chorale Preludes known as the Leipzig, written near the end of his life, is another setting "alio modo" of the ancient hymn to the Holy Spirit. This setting has a stern, almost didactic nature, with the chorale sounded on the Positiv (Krummhorn 8' + Speelfluit 4'), the left hand on Hoofdwer (Roerfluit 8' + Octaaf 4' + Octaaf 2'), with Pedal Subbass 16' + Praestant 8'. For the joyous alleluia POS Speelfluit 4' is replaced by Praestant 4' and Nasard 1-1/3'' is added, Mixtuur 4-6 St. is added to HW and Schalmey 4' is added to Pedal. Temperament is Organ-Silbermann. [8:44] HW3.23