Author Topic: The Organ, Master of them all - general organ thread  (Read 61575 times)

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Offline bioluminescentsquid

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Re: The Organ, Master of them all - general organ thread
« Reply #480 on: March 20, 2017, 06:07:34 PM »
How do people think of CPO's Pachelbel organ series?

It seems that most performances are just solid, nothing amazing or extremely convincing, but I wonder if there are any gems in there.

Offline Mandryka

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Re: The Organ, Master of them all - general organ thread
« Reply #481 on: March 21, 2017, 02:40:53 AM »
How do people think of CPO's Pachelbel organ series?

It seems that most performances are just solid, nothing amazing or extremely convincing, but I wonder if there are any gems in there.

Yes, I mean no, I mean you're right, even though there are lots of different organists they're all a bit too solemn and earthbound - they never escape orbit and fly to the stars. The second instalment has been released but I have haven't heard it.

(I'm still enjoying Albert Bolliger's Pachelbel.)
« Last Edit: March 21, 2017, 03:04:17 AM by Mandryka »
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Offline ahinton

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Re: The Organ, Master of them all - general organ thread
« Reply #482 on: March 21, 2017, 03:15:46 AM »
https://goldrush.uiowa.edu/project/5439

For further information on this historic event and the plans for this music, please write to me at sorabji-archive@lineone.net .

Offline Forever Electoral College

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Re: The Organ, Master of them all - general organ thread
« Reply #483 on: April 01, 2017, 10:53:12 AM »
The only Lubeck piece I've explored really is Ich ruf zu dir.

Leon Berben's probably my favourite from commercial recordings, I think it has all the vitality of Coudurier and Chapuis, and I appreciate Berben's extra grandeur and  spirituality. Walter Kraft 's recording probably influenced my expectations of the music. But Kraft's recordings aren't available and anyway the sound's not very good.

Follow-up: Berben's Lubeck sounds solid and colorful. I love it. Thank you for the info, ladies and/or gents.

Offline Mandryka

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Re: The Organ, Master of them all - general organ thread
« Reply #484 on: April 20, 2017, 08:17:05 AM »
Not totally uninteresting article here on touch sensitivity

http://www.pykett.org.uk/touchsens.htm

Quote
Attempts have been made for centuries to develop a keyboard instrument having something of the qualities which make, say, a violin seem to be part of the player (when played well, that is).  The unity of the instrument and the performer is demonstrated by the enormous variety of tone colours, dynamics and subtle articulations which almost approach the human voice in expressive power.  The invention of the forte-piano was the first major breakthrough enabling a keyboard player to have direct control over the way the notes are sounded, and the expressive capability of a modern grand piano is elegant testimony to the developments that followed. . . a number of transient effects occur with organ pipes, and that some of these at least are under the control of the performer at a suitable instrument.  Invariably this has to have a mechanical action designed according to sound engineering principles.
« Last Edit: April 23, 2017, 02:53:29 AM by Mandryka »
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Offline Mandryka

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Re: The Organ, Master of them all - general organ thread
« Reply #485 on: April 23, 2017, 02:51:16 AM »
 

There's a little recorded choral partita by Scheidemann called Herr Christ der einig Gottes sohn. Leonhardt seems to have had a special penchant for it, because there are at least two recordings, one at the old church in Amsterdam, one at Marienhafe. In addition there is recording from Bernard Coudurier (I think a bit glib, but others may enjoy the simplicity. I enjoy the simplicity, but not when I've not Leonhardt ringing in my head! ) and one from Julia Brown on Naxos (to me the registrations sound unusual, but the performance is "deeply felt")

Leonhardt in Amsterdam benefits from the best organ - the best gravitas - and it inspires him to give a fabulous performance, one that convinces me that the music is a mini-masterpiece. Leonhardt's "deeply felt" like Julia Brown, but Leonhardt's deep feeling is less romantic, if you know what I mean. I think this is my favourite.

The organ in Marienhafe (Saxony) is less imposing, but is maybe a bit more interestingly astringent from the point of view of harmonies (I think that the Amsterdam church organ was equally tuned when Leonhardt made the recording.) The performance he gives there seems slightly more improvised, more flamboyant, more like a precursor of  Stylus Fantasticus - it's interesting to hear the two together, to hear how the musician adapted to the instrument at his disposal.
« Last Edit: April 23, 2017, 10:14:12 AM by Mandryka »
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