Pierre Lauwers Posted November 8, 2008 Author Share Posted November 8, 2008 Hear, hear, here we are ! This very variety implies: there is no Truth, no hierarchy, we must learn to appreciate them all, like childs need to be teached to eat all kind of plates, not Mac.....'s "french" fries only. And here, along with an incredible disdain for colors -while the baroque organ IS, above all, color- is where the neo-baroque fashion failed completely. That the people did not travel much during the baroque period is not that sure. This was before the nightmaresque 20th century, which provoked this collection of isolated nations Europe is today, each jealous of its provincialism. The 18th century belgians -I mean the Southern Netherlands then, which were occupied by the austrians, the french, the spanish, the dutch, everyone reigned here- spoke an average of three languages -none of which were real dutch nor french-. Today they do not even know two of our four national languages...Travel ? If we do, then one week a year in a remote beach where they meet others belgians only, with as a program beach-disco-restaurant-sleep-do it again. The german baroque organs of the 18th century are incredibly vast synthesis with northern, italian and french influencies drawn upon local traditions, and Joachim Wagner -among the riches we discovered after the fall of the iron curtain certainly one of the most important ones- is an excellent example of that. It reunites northern traits (his windchests, whose grooves are incredibly narrow if we consider the volume of sound they can support, resemble Schnitger's), traditionnal central german, and french (the reeds are after french measures!). An example, too, of a kind of synthesis that works: compatible styles all from the same period, not the chimera like "swell into Werk..." This was the second step after Silbermann's which integrated french influencies, better acclimated here, in a style I hold for historically even more significant than Silbermann. Wagner had an huge influence afterwards. Through his pupils (Marx etc) and the author Schlimbach (whose descendants were organ-builders up to 1900), who 1811 still wrote with Wagner as the Primus inter Pares ! the belgian founder of the romantic style, Hyppolite Loret, had this book as his first reference. It is that way that I discovered the name of Wagner and went to pay a visit to Angermünde. If "Bach organs" exist, then Wusterhausen, Brandenburg Dom and Angermünde are, with the Trosts and Hildebrandts, and the only Wender we have (Altenburg). See here for Wusterhausen: http://www.wagner-orgel-wusterhausen.de/ For Angermünde: http://www.angermuender-sommerkonzerte.de/wagner_orgel.htm Pierre Link to comment Share on other sites More sharing options...
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