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Mander Organs


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About bazuin

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  1. To be clear: German isn't my native language (nor my second language). In fact I couldn't do much with it beyond reading about organs... I understood it like this: Mixtures were used economically and sparingly. Each manual contained never more than one (tierce) mixture. The next sentence qualifies the first by mentioning that Trost didn't make secondary mixtures ie cymbals or scharffs. The instruments all feature tierces either in the Sesquiatera, or as part of the mixtures (he goes on to mention them also in the Tertia and Cornet stops). The third quote states that Trost's use o
  2. "I am unconvinced that it is possible to say, with certainty, that some of the instruments you quote have not been altered tonally since the time of Bach. Two hundred and fifty years, give or take a few, is a long time. Documentation can be lost or destroyed." Oh please. "Die Mixturen werden oekonomisch und sparsam eingesetzt. Ohnoe ausnahme beinhaltet jedes Werk nur eine (tertshaltige) Mixtur." "Hingegen haeufen sich bei allen Instrumenten die Terzen sowohl als einfach disponierte Sesquialter ODER ALS BESTANDTEIL DER MIXTUREN" [capitals mine]. "Mit dieser Betonung der Terz e
  3. "I also cannot recall whether, at the time, Glatter-Glotz was still involved with the company." I was astonished to learn that any member of the Glatter-Gotz family had been involved with Rieger-Kloss but you're quite correct. Josef von Glatter-Gotz's association with the company ended, however, in 1945. While I admire your one-man campaign to champion the communist organ in Eastern Europe, I wonder if those organs you like sound well because of the remarkable rooms? I have enough old Supraphon LPs of Rieger-Kloss organs which suggest that this was organubuilding of the lowest possibl
  4. "There is of course a common period, also a comparable technology. This said, the central german organs had heavier actions -and this was a concern for J-S Bach- than the northern ones, for obvious reasons!" This is not true for Holland! Alkmaar/Amsterdam Oude Kerk (in fact, name your favourite with its original action) are all at least as heavy as Freiberg Dom! Altenburg is light by comparison (and rougher!). I wonder if our perceptions of Northern German actions have been coloured by the preferences of Jurgen Ahrend who restored most of those organs? Bazuin
  5. "I mean: from a strict historical point of view, the Van Hagerbeer-Franz-Caspar Schnitger organ of Alkmaar, more, in the state it was during H. Walcha's recordings, is exactly as far from the organs Bach played as the one in Birmingham's Town Hall.....So far, so good; good recordings resulted, no doubt. Bach sounds exactly as well on a Walcker: beautiful, but not authentic ! any "truth" there is an invented one." Well I almost agree except for one thing. The playing techniques associated with the Bach area in the Bach period are far closer to the playing techniques associated with Alkmaa
  6. Joyful congregational singing at a Dutch wedding... http://www.youtube.com/user/JohanD1984#p/u/4/briAFHILYTE (The organist plays for 90 seconds at the beginning to ehhhhhhhhhhhh get them in the mood?) Bazuin
  7. Something off-the-wall: Erland Hilden has been organist of Orgryte since the big meantone organ was built (completed 2000). Here he mixes Reich-like minimalism with symphonic rock (alla Idenstam) and 1/4 comma meantone. This and other pieces (including 'Dance of Joy' which my teacher in Holland used to play a lot) are on a new CD dedicated to his compositions and recorded on the Orgryte organs (the Schnitger-copy featured here and the ex-St Stephen's Hampstead 1880 Father Willis). Bazuin
  8. A recording of the complete trio sonatas on an organ which sounds like an early Hill as rebuilt by Willis III and our hosts? I think you might struggle and, in any case, not looking for a recording on a historic organ because you don't like the old Walcha versions is a shame. I have individual trio sonata recordings which I like more than any of the complete sets of which I am aware. The complete set which I enjoy the most is probably Bine Bryndorf's set from the Garnisons Church in Copenhagen (Carsten Lund) on Olufsen Records, although the outer movements are too quick for my taste. I h
  9. I have come across this organist personally - a Feike Asma disciple with a very heavy touch. His father, as Pierre doubtless knows, is a respected organ historian, author of the definitive text about the organ builders Witte. Bazuin
  10. I think there are several fundamental reasons why hosts of organ recitals (in general, acknowledging the exceptions appropriately) struggle to generate audiences: i) the organ, more than any other instrument, is badly played in situations where the audience has paid to hear it. And, actually, in general in public situations. ii) organists, still, have the habit to programme second-rate, dull music (mostly, I believe, due to a lack of in-depth knowledge of the repertoire, again this is a generalisation and there are happy exceptions) iii) the lack of professional PR afforded to other art
  11. "These sound similar to the problems with his 'magnus opus' organ. Where added to the inconsistencies in the action, the electrics (particularly those that operates the pistons) are very problematic. Like the Oxford organ, it does suffer from position in the church (no fault of Lamm, the church decreed it go there after the fire), but the organ is only just 10 years old and has had action/electric problems from a very early age." Mr Richerby has designed some beautiful cases. Unfortunately their contents have often been catastrophic. The magnum opus instrument in question has to be one of
  12. "That's to say, once you've bought several different organ sets and a fast enough computer to run them, you can change at the flick of a switch, from playing (complete with a mock up of the real console on your LCD panels either side of the keyboard), between a real Silberman, a Cavaille-Coll, a Father Willis...and experience, without leaving your practice room, multiple styles of organ building." No you won't. Because the true nature of any of these organs can only be understood at any meaningful level by experiencing the whole package - the touch (and the way it affects the sound), the c
  13. Regarding John Scott's BWV 543: "The attempts to provide life ends up with instable tempi, and the fugue is still two times too fast." I was astonished at the, for me beautiful, expression in the Prelude, I would never have associated this kind of playing with John Scott. I agree about the fugue - Bach could have written 'Allegro', he didn't. "The registration is extremely well conceived, with some variations, and avoiding to use mixtures all the time. This goes in an interesting direction." I would like Pierre to publish his ideas about Bach registrations, because he obviou
  14. Fantastic BWV 582 played by Olli Porthan (much-admired Professor of Organ at the Sibelius Academy in Helsinki) on the magnum opus of his brother, Martti Porthan in the church of Kotka in South East Finland. I played a concert on this organ in 02 - it is a copy of the famous Freiberg Silbermann (note the clever re-interpretation of the Freiberg case to match the surroundings of the typically late-19th century Scandinavian church). The organ is a class act, it even feels like the real thing. Bazuin
  15. "I have to say I think the Ad Nos is simply magnificent. Superb organist and magnificent organ which is perfect for the music. Played from memory and hand-registered throughout... " Un-bel-iev-able. This guy is 21!! I'd like to see Cameron Carpenter do that... Bazuin
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