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Clavierubung Part 3


Guest Andrew Butler
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Guest Andrew Butler

I have never been able to settle on the best registration for BWV 672/3/4

 

Suggestions welcomed please!

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I have never been able to settle on the best registration for BWV 672/3/4

 

Suggestions welcomed please!

Andrew - the one that sounds best to you is the best I suppose - sometimes it's a small chorus, sometimes you can find a colourful quiet reed/flute combination (if you have a good Dulzian or something at your disposal) - andthey can sound very effective on just a 4' flute or a really singing 8' principal. Anything that dosn't obscure the polyphony.
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Guest Andrew Butler
Andrew - the one that sounds best to you is the best I suppose - sometimes it's a small chorus, sometimes you can find a colourful quiet reed/flute combination (if you have a good Dulzian or something at your disposal) - andthey can sound very effective on just a 4' flute or a really singing 8' principal. Anything that dosn't obscure the polyphony.

 

Hadn't thought of the reed option - thanks.

 

I always play these 3 as a "Triptyche" so to speak, and cannot decide if they warrant changes of registration, or whether to use the same registration for all 3 and allow the differing textures and times (3/4, 6/8, 9/8) to provide contrast. Or whether to be "cumulative" - eg 8 / 84 / 842........ Thoughts please.

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Hadn't thought of the reed option - thanks.

 

I always play these 3 as a "Triptyche" so to speak, and cannot decide if they warrant changes of registration, or whether to use the same registration for all 3 and allow the differing textures and times (3/4, 6/8, 9/8) to provide contrast. Or whether to be "cumulative" - eg 8 / 84 / 842........  Thoughts please.

 

It's never occurred to me before but given the significant numerological references in CÜIII perhaps there could be a numerological aspect to the registration. 3 stops; 6 stops; 9 stops, perhaps. I'm not being completely serious here, but it could be a starting point if you are "stuck". Actually I imagine the second one to be more "intimate" than the others.

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Guest Andrew Butler

I agree about the "intimacy" of the 2nd. Thanks for your thoughts.

 

My worry is that the registrations should be related in some way, but should it be loud/soft/loud, principal/flute/principal, or whatever? I am afraid i have not got round to obtaining a better edition of CUIII than Novello, where the registration suggestions are (I hope) ignored these days!

 

Isn't it interesting the number of replies one can get for a question about organ construction, but very few about how to play staple repertoire!!

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Actually I see all three as quite intimate and gentle pieces, with the first being the most intimate and the subsequent ones progressively less so as the movement increases through 3/4, 6/8, 9/8. I used to play the last as a veritable jig, but over the years I've come to the conclusion that this makes for a mismatch with the previous two pieces (though I still think it has to have a hint of the dance about it). Registration depends on the organ of course, but ideally I like to match the increasing movement:

 

672: 8' flute (Gedeckt or Rohr Flute type).

673: add 4' flute.

674: add 2' flute.

 

672 sounds even better if you have a really subtle tremulant, but it doesn't suit the other two.

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Guest Andrew Butler
Actually I see all three as quite intimate and gentle pieces, with the first being the most intimate and the subsequent ones progressively less so as the movement increases through 3/4, 6/8, 9/8. I used to play the last as a veritable jig, but over the years I've come to the conclusion that this makes for a mismatch with the previous two pieces (though I still think it has to have a hint of the dance about it).  Registration depends on the organ of course, but ideally I like to match the increasing movement:

 

672: 8' flute (Gedeckt or Rohr Flute type).

673: add 4' flute.

674: add 2' flute.

 

672 sounds even better if you have a really subtle tremulant, but it doesn't suit the other two.

 

Thanks Vox - my feelings vindicated!

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