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Pierre Lauwers

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Posts posted by Pierre Lauwers

    Mutations

    in Nuts and bolts

    Posted

    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

    Mutations

    in Nuts and bolts

    Posted

    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

    St Bees Priory organ

    in General discussion

    Posted

    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

    Youtube

    in General discussion

    Posted

    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

    I don't know about you

    in The Organ

    Posted

    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

    Youtube

    in General discussion

    Posted

    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

    The Stahlhuth organ of Wilwerwiltz (L), 1914

    in The Organ

    Posted

    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

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