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Pierre Lauwers

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Everything posted by Pierre Lauwers

  1. This one might interest our host, and those who are interested with his work: Pierre
  2. Vox, YES!!!! You are right; nobody will find any Larigot on a manual deprived of Nasard and tierce in any baroque organ. Pierre
  3. Another bit of thuringian, Bach-organ sound ? Enjoy the string here: (I would like to hear the Trio sonatas on that one!) Pierre
  4. Thanks, MM, Halas I lack the time, nowadays, to develop the topics properly ! Indeed the Septieme dates back to the 18th century, Gabler already built such a rank in the "La force" stop in Weingarten. It is probably there than Weigle, the post-romantic builder, discovered it. (He built Mixtures with tierce and septieme rank, comparable, on paper, with Harrison's) But the interesting point could be, I think, the use of the Mixtures and Mutations. Only the french registrations are well-documented, and I suspect Dupré imponed "frenchified" registrations throughout the complete baroque repertoire. Let us take an example with the Cornet: a flemish invention, it was probably intended originally as a color per Se, a reed imitation. The flemish Cornet is narrower than the later french stops, and we can take for granted it was not used in the same way. When this stop was introduced in the german organ, it was soon treated as a part of the Principal chorus ! And this, during Bach's time; Trost even melted it with the Mixtures, and we find actually a kind of "Kornettmixtur" in his organs. So there might be the interesting survey field: how did the baroque builders intend such stops to be used ? I guess we know somewhat less about this than we believe it. Pierre
  5. What is a Larigot 1 1/3 intended for? Strictly spraking, the Larigot is an optionnal feature of the "Jeu de tierce" on the Positif manual in a french baroque organ, to be used thus with: Bourdon 8' Flûte 4' or Prestant 4' Nasard 2 2/3' Quarte de Nasard or Doublette 2' Tierce 1 3/5' (Larigot) And similarly a 1' stop? Seldom in french organs, more frequent in german ones, it can be used for special effects or as a member of the Diapason chorus. What is the technical difference in sound and usage between a 'cornet de compose' and a sesquialtera? The "Cornet décomposé" is a misnomer, a neo-baroque erring; the "Jeu de tierce" has the same ranks as the Cornet, thus: 8-4-2 2/3'-2-1 3/5, but as seperate stops. Those stops have full compass; they are not posted above the soundboard, but are on this one. They belong to the Flute family, but nos as large as the Cornet, and milder by far; this is actually a soft combination for lyrical music ("Tierce en taille"). The Sesquialter (2 2/3'1 3/5, or 1 1/3'- 4/5, with a break to 2 2/3- 1 3/5) has Principal scales, and is a member of the Diapason chorus. Flutey ones (actually Nasard and Tierce on the same slide) are a neo-baroque erring; When should one use a V rank cornet? (They often seem far too loud for Bach chorale preludes...) Never to be used in a Bach Choral-prelude, this stop is intended first to reinforce the Trompettes and the Clairons in the treble, hence their compass limited to the treble part of the clavier. Sometimes used in rapid music (Cornet voluntaries, "Cornet de récit" or "d'écho" in french organs) What is a Septieme 1 1/7 intended to be used for? And some of the other really high stuff eg... none 8/9's? The Septième was first used as a non-independant rank for corroborating Mixtures, intended to go with the reeds choruses ( Arthur Harrison, Cavaillé-Coll). Later, in neo-baroque organs, it was used for "bottleneck effects", ditto the None etc. Pierre
  6. A Dulciana Mixture and a Clarinet would be fine. Pierre
  7. I am curious to know when the 1890 H-J organ of Worcester will be reconstituted; if the evolution goes on at that pace, I could well be still living ! Pierre
  8. The typically Willis 17-19-22 Mixture is rather brillant and sharp, it is voiced with that aim. I have an old LP of the St Bees organ (recorded in the 70's I think), and it was already sharp, even in Bach. I believe this Mixture is intended to be drawn after the reeds. Pierre
  9. Waltershausen's sound, again, with G. Weinberger in Bach: http://www.youtube.com/watch?v=sPnVuoqArXo Pierre
  10. Eugen Casparini built a chamber organ with such pipes for the king of Austria in the 17th century. Pierre
  11. "the console looked like an abbatoir" (Quote) Would you have any picture of this??? Pierre
  12. QUEUE HERE: http://www.youtube.com/watch?v=hPozhtJ1GKo http://www.youtube.com/watch?v=ZpQGws--VMA...der&list=UL (avec une anche libre que je vous dis que ça...Aeoline 16'?) http://www.youtube.com/watch?v=sw2iZax7Bm0...der&list=UL Pierre
  13. I am very found of the baroque french music, because it is crammed with deep-meaning meditations you need an handkerchief nearby before listening to it: (The singing part is from Du Mont, the organ part from A. Raison) Pierre
  14. This unbelievable story may lend to think to a kind of Cairo action... In the meantime, we have made some interesting experiments in Belgium with toasters versus Beer; it appeared none of those things can resist a well-targeted falling beer pint. Pierre
  15. BWV 562 by Bernard Foccroulle at Ottobeuren -a strange french taste which fits-. Bach copied the music of Grigny, after all.... Such colors one can get from a Joachim Wagner organ as well. Pierre
  16. As you won't paste airbags onto a 1920 Bentley steering wheel, the electrics have been restored as they were. Pierre
  17. This organ was built for the benedictine Abbey of Limpetsberg, Luxembourg city. As this abbey became redundant -yes, it can happen on the continent as well- the organ, which is protected as a Monument historique, has been recently restored -in its original state, electro-pneumatic action included- and placed in the church of Wilwerwiltz. A pupil of Josef Merklin, Stahlhuth had his workshop in Aachen, not far from here, on the belgian border. His style is tipically post-romantic, and mixed french and german influencies, an even, in larger organs, british -he imported reed stops from Britain-. Here are pictures and, on the left side, the Specifications: http://www.orgues.lu/spip.php?article32 The Great (Manual I) is a kind of second swell, enclosed and with its celeste. Note there is nothing above 4'. Does it sound muddy ? Answer here below: This kind of organ experiences a wide renaissance nowadays here; they are coming under protection everywhere one can find one, while the eventual added whistles are removed, and the missing stops are reconstituted carefully. This one remained 100% original since 1914 ! Pierre
  18. And here a marvellous Skinner: Pierre
  19. Very interesting -and historically to the point-: http://www.youtube.com/watch?v=xLfosV395ds Pierre
  20. Now an authentic french baroque Plein-jeu as a cake: Pierre
  21. Ladies and gentlemen, Do NOT open this without an handkerchief. A summit of the music: http://www.youtube.com/watch?v=imKVnOcJNX0 Pierre
  22. And oh, yes, I nearly forgot to correct that one: http://www.youtube.com/watch?v=wUk2tg2EzX0 http://www.youtube.com/watch?v=1pU218658nc...feature=related Pierre
  23. Enjoy: http://www.youtube.com/watch?v=vsxBj31Gf24 Pierre
  24. And this: http://www.youtube.com/watch?v=sMw5SV_8fXM Pierre
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