Digital Organ Choice

[FelixLowe]

At the place where the Kleuker was, I heard this song twice at Christmas Eve for two years: http://www.youtube.com/watch?v=ZQYLuljT4GQ. I wonder even there is a registrational idea for this song, which has five verses.

How about this way of playing it:

Thou didst....
Manual: Principal 8, Rohrflote 8', Octave 4', Nasard 2 2/3' and Waldflote 2'; + Gedackt 8' and Spitzflote 4' for chorus.
Pedal: Subbasse 16', Gedackt 8' and Choralbass 4'

Heaven's arches rang....
Manual and Pedal: Same as Verse 1

The foxes....
Manual and Pedal: Same as Verse 1

Thou camest,....
Manual: Verse 1 registration + Octave 2'; + Gedackt 8' and Spitzflote 4' for chorus.
Pedal: same as Verse 1

When the heavens ring....
Manual: For final Verse: Verse 1 registration + Octave 2' and Mixture IV; + Gedackt 8' and Spitzflote 4' for the chorus.
Pedal: Verse 1 registration + Gedackt 8' and Spitzflote 4'.

 

[FelixLowe]

Kommst du nun, Jesu, vom Himmel herunter, BWV 650: http://www.virtuallybaroque.com/audio/bwv650_een2s.mp3. This transcription is derived from the second verse (alto solo) of Cantata 137, "Lobe den Herren, den mächtigen König der Ehren." Bach chose a different set of words for this chorale, though.

Registration: Man 2: Holpyp 8' + Holpyp 4' + Octaav 2'; Man 1 Trompet 8' (played an octave higher as a 4' reed in the Pedal might be). Temperament: Silbermann Erfurt Dom. Instrument: The Arp Schnitger organ at Eenum in Groningen, The Netherlands (1704) - Samples by Hauptwerk.nl

 

[FelixLowe]

Christe, Aller Welt Trost, BWV 673: http://zionorgan.com/vb/mp3/bwv673_bz3.mp3. Instrument: Buzard Opus 3 (1986) - Samples by Brett Milan

 

[FelixLowe]

Wie schön leuchtet der Morgenstern (by Johann Pachelbel): http://zionorgan.com/vb/mp3/pach_wsl_ss4ch.mp3. Chorale melody motives used in the manuals, full chorale in the pedal at half speed. Instrument: Marcussen & Son Organ / St. Stefanuschurch / Moerdijk (Noord-Brabant, The Netherlands) (1965) - Samples by Ariaan Hoogendijk.

English-language text:
How beauteous beams the morning star
With truth and blessing from the Lord,
The darling root of Jesse!
Thou, David's son of Jacob's stem,
My bridegroom and my royal king,
Art of my heart the master,
Lovely,
Kindly,
Bright and glorious, great and righteous, rich in blessings,
High and most richly exalted.
--Z. Philip Ambrose, translator

 

[FelixLowe]

At the place where the Kleuker was, I heard this song twice at Christmas Eve for two years: http://www.youtube.com/watch?v=ZQYLuljT4GQ. I wonder even there is a registrational idea for this song, which has five verses.

How about this way of playing it:

Thou didst....
Manual: Principal 8, Rohrflote 8', Octave 4', Nasard 2 2/3' and Waldflote 2'; + Gedackt 8' and Spitzflote 4' for chorus.
Pedal: Subbasse 16', Gedackt 8' and Choralbass 4'

Heaven's arches rang....
Manual and Pedal: Same as Verse 1

The foxes....
Manual and Pedal: Same as Verse 1

Thou camest,....
Manual: Verse 1 registration + Octave 2'; + Gedackt 8' and Spitzflote 4' for chorus.
Pedal: same as Verse 1

When the heavens ring....
Manual: For final Verse: Verse 1 registration + Octave 2' and Mixture IV; + Gedackt 8' and Spitzflote 4' for the chorus.
Pedal: Verse 1 registration + Gedackt 8' and Spitzflote 4'.

It would in fact be a better idea to play the whole Verse on "Heaven's arches rang" with the Gedackt 8' and Spitzflote 4' coupled, so no manual change would be necessary for the chorus. The transition from the beginning verse to "Heaven's arches rang" would thus be more artistically supportive with more sufficient tonal strength and volume appropriate for "Heaven's arches rang" without the need for a change for tone-setting for the intial verses.

Then the stops will be uncoupled again for the verse starting with "The Foxes...."

 

[FelixLowe]

Du Friedefürst, Herr Jesu Christ, BWV 1102: http://zionorgan.com/vb/mp3/bwv1102_fbr_hw2_100.mp3. Instrument: Schantz at First Baptist Church of Riverside, California (1966) sampled by Jonathan Orwig

English-language text:
Thou Prince of peace, Lord Jesus Christ,
True man and very God,
A helper strong in need thou art
In life as well as death.
So we alone
In thy dear name
Are to thy Father crying.
--tr. Z. Philip Ambrose

 

[FelixLowe]

Werde munter, mein Gemüte, BWV 1118: http://zionorgan.com/vb/mp3/bwv1118_glc.mp3. The melody more famous as "Jesu, Joy of Man's Desiring" plays hide and seek, switches meters, explores medieval harmony briefly and ends as sweetly as it began. From the Neumeister Chorale Collection. Instrument: Casavant, Opus 3246 (1975) at Grace Lutheran Church, Champaign, Illinois - Samples by Brett Milan

English-language text:
Wake up, my mind,
and come forth you senses,
so you praise God's goodness
which he has accomplished for me,
for he has supported and protected me
the entire day from many worries and distresses,
so that Satan doesn't defile me.
--Tr. composite

 

[FelixLowe]

Der Tag der ist so freudenreich (by Johann Pachelbel): http://www.oldorg.net/ehrlich/pach_dtdisf_ehrr.mp3.
Manuals only, starting on Hauptwerk (Principal 8' + Quintatoene 8' + Octav 4' + Quint 2 2/3' + Superoctav 2'), going to Positiv (Grossgedackt 8' + Spizfloete 4' + Octav 2 + Mixtur 3 Fach) for a short repeated section, returning to the Hauptwerk, to which the Positiv is now coupled. Impulse reverberation added Instrument: Johann Adam Ehrlich organ at Evangelische Stadtkirche / Bad Wimpfen, Germany (1748) - Samples by Gernot Wurst

 

[FelixLowe]

Marie-Claire Alain speaks about Johann Sebastian Bach's (1685-1750)
chorales and demonstrates an excerpt of the Christmas chorale "Der Tag, der ist so freudenreich" BWV 605 at the Silbermann organ of the Georgenkirche in Rötha: http://www.youtube.com/watch?v=Cs4cXZTgBIE.

Alain plays three Christmas chorales of J S Bach:
http://www.youtube.com/watch?v=ZDAWH6L1Q4A:

Puer natus in Bethlehem BWV 603
Der Tag, der ist so freudenreich BWV 605
Vom Himmel hoch, da komm ich her BWV 606

 

[FelixLowe]

John Hong plays Fantasia on Joy to the World and demonstrates the 4-manual Allen Organ at a 2002 Concert at New York Trinity Baptist Church, Juilliard: http://www.youtube.com/watch?v=sMSRn0x1_uQ.

For the hymn proper, I personally prefer the following registrations:

Joy to the World....
Manual: Principal 8', Gedackt 8', Octave 4', Twelfth 2 2/3, Spitzflote 2', Waldflote 2'
Pedal: Subbass 16', Gedackt 8', Choralbass 4

Joy to the Earth.... (A slight variation should be played with some quaver pedalling)
Manual: The original registration + Oboe 8' and Clarion 4'
Pedal: Original registration + Trumpet 8'

No more let sins....
Manual: Second verse registration with Clarion 4' off
Pedal: Revert to first verse registration

He rules the world.... (plays the second verse variation again)
Manual: Verse three registration + Sifflote 1' and Mixture V
Pedal: Verse 2 registration + Fagott 16'

 

[FelixLowe]

Dies sind die heil'gen zehn Gebot', BWV 635: http://zionorgan.com/vb/mp3/bwv635_vbw_wc_75.mp3. From the Orgelbüchlein, this closely imitative piece is a short but grand treatment of the chorale associated with the Ten Commandments.

Registration - Chorale: Zwelwerk Schalmei 8' + Octaaf 2' coupled to HW Holpijp 8' + Octaav 4' and to PD Subbas 16' + Gedekt 8'; Prelude: HW Holpijp 8' + Octaav 4; Zwelwerk Schalmei 8' + Gemshoorn 8' coupled to PD Subbas 16'. Impulse reverberation added. Instrument: Vermeulen Brothers Organ at Congregation "Vloedschuur," Heteren, Holland (1959) - Samples by Hauptwerk.nl

English-language text:
These are the holy ten commands,
Which came to us from God's own hands
By Moses, who obeyed His will.
Standing upon Sinai's hill.
Have mercy, Lord!
--Tr. George MacDonald

 

[FelixLowe]

Hymn Light's Abode, Celestial Salem (Regent Square) and Postlude (Herbert Sumsion's Ceremonial March): http://www.youtube.com/watch?v=PcyiMag2Oew. The organ is a 43-rank four-manual Austrian-built Rieger installed in 1979 at Christ Church Cathedral, Oxford.

Light's abode, celestial Salem

Lights' abode, celestial Salem,
vision whence true peace doth spring,
brighter than the heart can fancy,
mansion of the highest King;
O how glorious are the praises
which of thee the prophets sing!

There for ever and for ever
alleluia is outpoured;
for unending, for unbroken
is the feast-day of the Lord;
all is pure and all is holy
that within thy walls is stored.

There no cloud nor passing vapor
dims the brightness of the air;
endless noonday, glorious noonday,
from the Sun of suns is there;
there no night brings rest from labor,
for unknown are toil and care.

Laud and honor to the Father,
laud and honor to the Son,
laud and honor to the Spirit,
ever Three and ever One,
consubstantial, co-eternal,
while unending ages run.

Words: Thomas à Kempis, fifteenth century;
trans. John Mason Neale, 1854
Music: Regent Square

 

[FelixLowe]

Ach bleib bei uns, Herr Jesu Christ, BWV 649: http://www.silborg.net/vpm/bwv649_vpm.mp3.

This transcription is from the 5th movement of Cantata 6 for the second day of Easter: "Bleib bei uns, denn es will Abend werden." Registration - Man. I Prinzipal 8+Oktava 4+Quinta 1 1/2; Man. 2 Full cornet; Pedal Subbass 16 and Man. I/Pedal coupler. The pedal is a little jumpy as it tries to avoid overlaps with the left hand. Midi File available. Instrument: Gottfried Silbermann Organ, St. Marienkirche - Rötha, Germany (1722) - Samples by Brett Milan

English-language text:
Oh, bide with us, Lord Jesus Christ,
For now the evening is at hand,
Thy godly word, that radiant light,
Let in our midst, yea, never fade.

Within this recent time of woe
Grant us, O Lord, steadfastness sure,
That we thy word and sacrament
Keep ever pure until our end.
--Tr. Z. Phillip Ambrose

 

[FelixLowe]

In Dir Ist Freude, BWV 615:http://zionorgan.com/vb/mp3/bwv615_ss4.mp3. A bell-like motive in the pedal emphasizes the idea of ringing in the New Year, but bursts of joy are appropriate any time. A full complement of couplers is available on this version of the Marcussen samples, enabling several sonic layers. Instrument: Marcussen & Son Organ / St. Stefanuschurch / Moerdijk (Noord-Brabant, The Netherlands) (1965) - Samples by Ariaan Hoogendijk

English-language text:
In Thee is gladness Amid all sadness, Jesu, sunshine of my heart.
By Thee are given The gifts of heaven, Thou the true Redeemer art.
Our souls Thou wakest, Our bonds Thou breakest; Who trusts Thee surely
Hath built securely. He stands forever, Alleluia!
Our hearts are pining To see Thy shining, Dying or living,
To Thee are cleaving, Naught can us sever. Alleluia.
--Tr. C. Winkworth

 

[FelixLowe]

Any idea for registering In Heavenly Love Abiding (Nyland)? Personally I prefer the following:

In heavenly love abiding: http://www.oremus.org/hymnal/i/i246.html

(Manual: Principal 8', Rohrflote 8', Octave 4', Nasard 2 2/3' and Waldflote 2'
Pedal: Subbasse 16', Gedackt 8' and Choralbass 4')
In heavenly love abiding,
no change my heart shall fear.
and safe in such confiding,
for nothing changes here.
the storm may roar without me,
my heart may low be laid,
but God is round about me,
and can I be dismayed?

(Manual: Principal 8', Rohrflote 8', Octave 4', Nasard 2 2/3', Waldflote 2' and Octave 2'
Pedal: Subbasse 16', Gedackt 8' and Choralbass 4')
Wherever he may guide me,
no want shall turn me back.
my Shepherd is beside me,
and nothing can I lack.
his wisdom ever waking,
his sight is never dim.
He knows the way He's taking,
and I will walk with Him

(Manual: Principal 8', Rohrflote 8', Octave 4', Nasard 2 2/3', Waldflote 2', Octave 2' and Sesquialtera II
Pedal: Subbasse 16', Gedackt 8' and Choralbass 4')
Green pastures are before me,
which yet I have not seen.
Bright skies will soon be over me,
where darkest clouds have been.
My hope I cannot measure,
my path to life is free.
My Savior has my treasure,
and he will walk with me.

Words: Anna Laetitia Waring, 1850

Music: Nyland Meter: 76 76 D

 

[FelixLowe]

Ach Herr, mich armen Sünder, (BuxWV 178): http://www.silborg.net/vpr/buxwv178_vpr.mp3[FONT=Georgia,Times]. A serene setting of the Passion Chorale by Dietrich Buxtehude, which alternates between straightforward melody and ornamental flourishes. Registration: Hauptwerk Principal 8; Hinterwerk: Gedacktes 8, Rohrfleute 4, Nassat 3, Oktava 2, Tertia 2; Pedal Subbas 16 and Oktavenbass 8 Note: German organs of this period used rounded-up numbers for pitches: 3'=2 2/3;' 1 1/2'=1 1/3;' Tertia 2'=1 3/5'. Midi File available. [FONT=Georgia,Times]Instrument: Gottfried Silbermann Organ, Reinhardtsgrimma / Sachsen, Germany (1731) - Samples by Prof. Helmut Maier[/FONT][/FONT]

English-language text:
Ah Lord, me a poor sinner
Blame not within thy wrath;
Thy solemn rage yet soften,
Else is my hope forlorn.
Ah Lord, may'st thou forgive me
My sin and mercy send,
That I have life eternal
And flee the pain of hell.
--Tr. Z. Philip Ambrose

 

[FelixLowe]

Auf meinen lieben Gott, BuxWV 179: [URL]http://www.silborg.net/lee/buxwv179_lee.mp3. Chorale[/URL] and 4 variations in the form of a dance suite.

Chorale: Rugwerk Fluit Does 8' + Holpijp 4' coupled to Hoofdwerk Roerfluit 8' + Speelfluit 4' + Tremulant.

Double: Rugwerk Fluit Does 8' + Holpijp 4' + Octaaf 2'.

Sarabande: Rugwerk Fluit Does 8' + Holpijp 4' coupled to Hoofdwerk Prestant 8' + Roerfluit 8' + Tremulant.

Courante: Hoofdwerk Roerfluit 8' + Octaav 4' + Octaav 2' + Mixtuur 4-6 sterck.

Gigue: Rugwerk Fluit Does 8' + Holpijp 4' + Octaaf 2' + Scherp 4 sterck coupled to Hoofdwerk Roerfluit 8' + Octaav 4' + Octaav 2'.

All use Bourdon 16' occasionally.

Tremulant noise enabled. Temperament 1/10 Comma. Instrument: The Hinsz-Organ at Leens in the province of Groningen (1733/34) - Samples by Hauptwerk.nl

English-language text:
In my beloved God
I trust in fear and need;
He can me e'er deliver
From sadness, fear and trouble.
My sorrow can he alter,
For all rests in his hands now.
--Tr. Z. Philip Ambrose (used by permission)

 

[FelixLowe]

At the place where the Kleuker was in Causeway Bay, the Royal College-trained organist was once heard playing Be Thou My Vision (Slane). What stops did she employ?

It was one of those rare occasions for a song to be played with the Sesquialtera II even in the demo during congregational singing. From my memory, her registrations look something like the following:

Be Thou my....
Manual: Principal 8', Gedackt 8', Octave 4', Octave 2', Sesquialtera II
Pedal: Subbass 16', Gedackt 8', Choralbass 4'

Be Thou my Wisdom....
Manual: Same as Verse 1
Pedal: Same as Verse 1

Riches....
Manual: Verse 1 stops
Pedal: Same as Verse 1

High King of heaven....
Manual: Original stops and Mixture IV
Pedal: Same as Verse 1

 

[FelixLowe]

At the place where the Kleuker was in Causeway Bay, another occasion where the Sesquialtera II was used right at the start of the song and of course in the demo during congregational singing is Father, Hear the Prayer We Offer (Sussex): http://www.youtube.com/watch?v=-4UCeged4AY.

I cannot remember exactly how the five verses were played by the Royal College-trained organist, but suffice it to say that she kind of played the first verse with something like:

Manual: Principal 8', Gedackt 8', Rohrflote 4', Octave 2' and Sesquialtera II
Pedal: Subbass 16', Gedackt 8' and Choralbass 4'

Since the five verses do not differ in character greatly, from my memory she adopted similar registration throughout. Only that she played with both hands on one manual and also on two manuals alternately. When she played with both hands on the Great and Swell, it must have been that the left hand playing the tenor would have featured the use of Principal 8' and Octave 4' or similar registration. When she was doing that, she wasn't really playing the Cornet-like Soprano alone, but both the Soprano and Alto together, as usual.

 

[FelixLowe]

One more occasion that I heard the Sesquialtera II used at the beginning of a hymn is, however, of a completely different occasion. It wasn't the usual "Kyrie" type of rendition of a psalm tune or anything.

At the place where the Kleuker was, a young and green organist, presumably some kind of organ music graduate from the CUHK was doing her audition that morning, I guess, during one Advent service, where she played Infant Holy, Infant Lowly.

I don't know whether she was instructed to use the Sesquialtera by her teacher, or she decided to do it by herself. The effect, in any case, was just appropriate for the song. The effect was adding just the right hint of sarcasm and ridicule to that phenomenon 2,000 years ago. If you study the lyrics closely, you would know that absurdity there -- the contrast of being the "Lord of all" and "lying in the cattle stall" is just too great a contrast to contemplate. Her rendition added farce and absurdity in order to bring out the ridiculous flavour painted by the words there. And it was her unique tonal manipulation bent on giving a due sense of pungency to the lyrics, that made her rendition quite successful. The Sesquialtera II at that time functioned as a rhetorical tool of irony, which was completely different from the usual prayerful and reflective meditation use for petitioning to God.

Her rendition would have featured registration that looks something like this: Principal 8', Rohrflote 8', Octave 4', Rohrflote 4' and Sesquialtera II for the manual. For the pedal, it would have been perhaps just Subbass 16' and Gedackt 8'.

Another aspect is that the song itself resembles some kind of nursery tune, so her use of the Sesquialtera II made the song rhyme just appropriately added more farce to the absurd.

Her rendition definitely adds to the idioms of organ stops. Had I not heard her play, I would have conceived something like: Principal 8', Gedackt 8', Rohrflote 4', Nasard 2 2/3' and Octave 2' for the manual, etc.

Have a listen to this rendition by the King's College Choir: http://www.youtube.com/watch?v=IA0Xk0AQTKU&feature=related.