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|The MP3 files offered here for download
have been recorded with a five-manual Hauptwerk organ.
Forty-seven of the organ stops come from the First Baptist Church,
Riverside, CA Schantz organ as recorded by Jonathan Orwig.
Another 21 stops come from the Marcussen Organ of St. Stefanuschurch,
Moerdijk, The Netherlands as recorded by Ariaan Hoogendijk.
Hauptwerk users can see the details by downloading the .organ file
for this instrument.
I have also just started adding Gospel music MP3 files (12-08-2004) using a slight variation of the 5-manual instrument with percussion sounds added to the pedals (as in the Band-Organ).
I'm now (12-13-2004) placing Christmas tunes in the 5-Manual area rather than in the Band-Organ area since I can use the newer, larger organ for such music.
I've just added a 64' reed stop to the pedal on a trial basis. It takes up the memory of two pedal stops which thus need to be referenced. I'm not sure yet that it's useful enough to keep in the organ under these circumstances. Here are two MP3 recordings of the notes of the bottom pedal octave, first with the 64' and then without. Both recordings include Contra Fagotto 32', Posaune 16', Principal 16', and Trompette 8'.
The MP3 files on the next page are meant to show what this custom organ sounds like. I would hope the music will be enjoyed, as well.
I'll be adding comments below about the compositions recorded with the 5-Manual Organ.
|Boëllmann, Léon, Suite Gothique, I. Introduction - Choral||I usually listen to this music as played by Marie-Claire Alain on that wonderful Saint Sulpice, Cavaille-Coll organ in Paris. I chose to record it on my Hauptwerk organ to demo the sound of the new 64' reed stop on the pedal. I feel that the stop really adds a lot to this piece. I sure wish I could get that incredible French Bombarde pedal sound on my organ though.|
|Bőhm, George, Prelude and Fugue In C Major||Here's a great piece of music, I think. I first heard this played by E. Power Biggs on an old Nonesuch record. I really like what goes on in the prelude. I was never able to play the fugue part to my satisfaction, however. So in this recording, I did what I could to bring out each fugue voice as it enters, even though this meant using various reeds where I don't remember hearing them used before. But it does help untangle the voices, I think. So often in the standard organ fugue approach I lose track of the separate fugue voices and start to hear only the over-all chordal effect---evidently the result of my non-polyphonic musical upbringing.|
|Brahms, Johannes, Mein Jesu, der du mich||For this piece I chose the Flute Céleste II for the manuals. That sounded fine, but then I found it was even lusher when I added the Harmonic Flute 8' too. That Harmonic Flute gives a kind of liquid sound - hard to describe, but lovely. The rather intriguing pedal melody results from the use of the 5-1/3' stop with the 16' and 8' Diapasons. Of course, a book on registration I have says that celestes are not appropriate for Brahm's preludes, but not being a professional organist, I do what I want.|
|Carol - Joy To The World! The Lord Is Come||This great Christmas Carol demo's the newly added 64' pedal reed stop. It is heard during the introduction, and then in the 2nd and last times through the verses. The 1st and 3rd times through, feature the diapason chorus'.|
|Carol - Silent Night||Here the Zimbelstern and tremulant is demo'ed.|
|Carol - While Shepherds Watched Their Flocks||This was an attempt to show some of the different softer sounds of the organ. First just an 8' and 4' flute. This is followed by the adding the Sesquialtera II, then the Krummhorn 8', then the Contre Trompette 16', then the Regal 8', and finally a light diapason chorus.|
|Chopin, F., Prelude In C Minor||This piano piece was transcribed for organ by Roland Diggle. I recorded it to practice using the expression pedals of the Hauptwerk organ. One section demos the 64' pedal reed stop, too.|
|Christmas - White Christmas||The plan here was to use only flute stops. (Well, there's the Carillon in there, too. What's White Christmas without bells?)|
|Handel, GF, Air In F Major||I first heard this music on a recording by Virgil Fox playing that huge Riverside Church organ in New York City. There was a ton of reverberation which added a very celestial effect to the music. Here I used the Marcussen Principal 8' for the first section, and the Schantz Voix Céleste, with my sampled one added, for the second section. The registration builds from there on.|
|Hymn - Ah, Holy Jesus, How Have You Offended?||What I was experimenting with here is the Tremulant settings. Each manual has a tremulant. I found the setting I preferred was Period = 150 (the higher the number, the slower the speed) and AmpModDepth = 60 (the higher the number, the greater the depth). The trem certainly doesn't work with everything, but satisfied me here. I used all flute stops on the manuals with the Voix Céleste 16' on the pedal. I combined different flute pitches from different manuals with couplers. Each tremulant was started at a bit different time, which I think leads to a better sound.|
|Hymn - Amazing Grace||For this hymn, the idea was two-fold. Start with a medium level volume M and build smoothly to something like FFF. Also, use only strings and reeds. (Well, a few higher pitched diapasons and flutes got in, but very few.) The strings consist of three different Voix Céleste stops with 4' and 16' couplers used. (I have recorded another Voix Céleste 8' which is a bit milder than the one offered elsewhere on this website, but brighter than the Schantz one. It's 50 MB altogether. Perhaps I'll break it up and offer it for download, if anyone wants it.) This thing ends with an incredible huge full organ sound (my opinion) but uses hardly any diapasons and mixtures at all.|
|Messiaen, Olivier, Le Banquet Céleste||Wow, what a strange, mysterious, and
beautiful thing this is! I first heard it played on a record by
Marcel Dupré on that fantastic Saint Sulpice, Cavaille-Coll organ in
Paris. I must have checked out that old Mercury recording from our
Spokane library 3-dozen times or so over the years. I bought the sheet music for
the composition, but never had a lot of luck playing it due mostly
to it's being written in six sharps. I followed the score's
registration markings for this recording. The Voix Céleste (from the
Schantz) with the Harmonic Flute sound exactly like I remember the
The score is printed in France using only French. There is a sort of inscription at the top: "Celui qui mange ma chair et boit mon sang demeure en moi et moi en lui." I took the words to our French teacher at school for a translation. She looked at it and asked, what kind of terrible thing have you been getting into here? The translation is: "He who eats my flesh and drinks my blood dwells in me and I in him." After I explained the religious nature of all this, she apologized for having doubts about me.
|Meyerbeer, Jakob, Coronation March||I used to play this music on organ. It's not real deep intellectual stuff, but it's a lot of fun. The march is from Meyerbeer's opera "Le Prophète." I tried it out for the Hauptwerk organ since I was looking for a big scale, loud piece to experience full organ with. The score for the organ transcription was done by Dr. Harry L. Vibbard.|
|Reese, John, Fugue In G||I've liked this really neat little fugue for quite some time now. The experiment this time was to use only reed stops. The piece is for one keyboard only, no pedals. So it was a matter of using lots of combination settings and adding reeds little by little.|
|Vierne, Louis, Maestoso In C Sharp Minor||A great, loud, full organ type piece to get the most out of the Hauptwerk organ. And then there's the lovely fugue-like section using the Schantz Voix Céleste 8' stops. How beautiful! I tried to follow the registration markings in the score. The original music was written by Vierne for chorus and two organs. It's been transcribed for solo organ by Alexander Schreiner.|
|Wesley, Samuel Sebastian, Air for Holsworthy Church Bells||The point of recording this pleasant piece was to demo the Carillon stop.|