Els Biesemans plays Baroque music on the 1698 Schnitger organ in Dedesdorf
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- čas přidán 2. 07. 2024
- Radio Broadcast on Deutschlandfunk, March 02, 2020. Live recording from a concert given on August 27, 2019, as part of Arp Schnitger Festival 2019.
Georg Muffat
0:00 Toccata Septima C-Dur
Johann Pachelbel
09:16 Partita „Ach, was soll ich Sünder machen“
Heinrich Scheidemann
14:49 Canzona G-Dur
Samuel Scheidt
18:54 Cantio sacra „Warum betrübst du dich, mein Herz“
30:07 Toccata G-Dur „In te Domine speravi“
Georg Böhm
37:55 Capriccio D-Dur
Matthias Weckmann
Chorale cycle „Komm, heiliger Geist, Herre Gott“
43:30 Primus Versus à 4
45:45 Secundus Versus Auff 2 Clavir
48:55 Tertius Versus à 3
Johann Sebastian Bach
Präludium und Fuge D-Dur, BWV 532
52:14 Präludium
56:35 Fuge
Els Biesemans, Organ
Organ stoplist and description: (from GoArt Arp Schnitger Organ Database)
Unter-Clavier CDE - c3 (47 keys)
Quintaden 8' 1698
Gedackt 4' 1698
Quinta 3' 1698
Floit 2' 1698
Gemshorn 2' 1744
Sesquialter II 1698
Mixtur IV 1698
Trompet 8' 1698
Ober-Clavier CDE - c3 (47 keys)
Principal 4' 1999
Gedackt 8' 1698
Octav 2' 1698
Quinta 1 1/3' 1698
Pedal CDE - d1 (25 keys)
Subbaß 16' 1838
Octave 8' 1744
Octave 4' 1744
Posaune 16' 1744
Trompete 8' 1744
Trompete 4' 1744
Tremulant, Schiebekoppel/Shove coupler O-C/U-C
Kellner temperament at a1 = 457 Hz
Located south of Bremerhaven at an old ferry crossing over the Weser, Dedesdorf originally belonged to the County of Oldenburg. The church congregation is still a part of the Lutheran Church of Oldenburg.
The first chapel was built in Dedesdorf in 1050 and raised to the status of parish church in 1150. The western part of the present nave was built in the middle of the thirteenth century. In 1838, the choir, with its cross-ribbed vaults and semi-circular apse, originally joined to the east, was demolished and replaced by a rectangle the width of the nave and given a beamed ceiling.
The organ erected by Arp Schnitger in Dedesdorf in 1698 was probably the first instrument in this church. In 1745, Eilert Köhler (Oldenburg) repaired the organ and made some small changes: he replaced the Sifflöte 1 1/3 on the lower manual with a Gemshorn 2'. Koehler added an independent Pedal with six registers, which was placed behind the organ, and removed Schnitger’s pull-down pedal action. The bellows had to be laid on the floor of the church, as the original place was taken by the new independent pedal. Koehler also changed the temperament.
In 1838 Johann Gerhard Schmid from Oldenburg replaced the Pedal mixture with a Sub-Bass 16', and in 1860, the four bellows were restored, and in 1934 Furtwängler & Hammer (Hannover) replaced original façade pipes, lost to the First World War.
In a repair of the organ carried out in 1957 by Alfred Führer (Wilhelmshaven), the Principal 4' in the façade (with pointed-arch upper lips) and parts of the tracker action were refurbished. A thorough restoration of the organ took place in 1998 and 1999 by the Führer organ workshop led by Heiko Lorenz, where the façade pipes were reconstructed after Schnitger’s working methods, and a pedal coupler was recreated based on the traces of the original pull-down pedal.
The concept of a two-manual construction on a “doubled” windchest, with one pallet box at the front and another at the back (with a partition across all of the channels in the middle of the windchest), is an ingenious solution to the space problem on organ balconies with insufficient distance to the church ceiling. Schnitger learned this construction probably by studying the Donat organ of 1664 in Neuenkirchen (Hadeln) and applied it to other organs that were built at the same time, including the organ in Strückhausen.
The Schnitger disposition with 4 registers on the front part of the windchest and the rest - with mixture and trumpet - on the rear part, corresponds to the concept of the Concertino and Ripieno of the Baroque orchestra. - Hudba
Heerlijk!
Very beautiful "colours"! The smallest Schnitger organ originally with no stops in the Pedal is a remarkable treasure; even the further additions didn't affect its aesthetics. Part of your repertoire was unknown to me and the whole program is a extremely fine result, a great tribute to the German baroque organ music. Where can I find the complete score of Weckmann's work; usually I only find the 1st versus? Greetings from Brazil.
Nice inspiration for painting the house this morning ;-)
Edited! Several good organ music broadcasts recently that I'm planning on recording - also the recent Jean Rondeau playing Froberger/L. Couperin on France Musique.
@@joannescouchet7038 OK, some Northern German School is always nice! I enjoyed the program a lot, especially the Scheidt-variations.
I know Rondeau is some sort of a hype, but I don't like his attitude and repertoire but of course it is all technically very skilful. I once heard him in Brugge playing a kind of "Best of ..." repertoire, but he was playing so incredibly fast, that I had difficulty to recognize the tunes.
In that case you are only doing yourself a favour. Kind of a solo-ego-trip. Maybe it is only the youth because I always thought Christophe Rousset played (too) fast, until I heard him play in August 2018 in Utrecht in a program with only pièces of François Couperin, which was really perfect in my perception.
@@HarpsichordVinylGallery I agree with you, Rondeau is a hype. I got to hear him in 2018, playing Rameau and Bach. At his best, he is spellbinding, but his style can also be superficial ('play as fast as you can' trope) and tiring at times - also made more mistakes than expected of a harpsichordist of his reputation. But I still like to record interesting broadcasts and sharing them here. :)
@@HarpsichordVinylGallery Whoops, I accidentally deleted your comment after seeing it! I think you will enjoy this one though, he knows (for the most part) how dreamy the music of Froberger and Louis Couperin is and that it shouldn't be rushed.
@@joannescouchet7038 OK we will see. I had the Pinnock published unlisted since it still brings in revenues after two cd releases from the 1978 recording. Great recording it is and I never had it. It was a recent gift from a friend.
Where can I get the complete score of Weckmann's chorale cycle?
Hearing Palchelbel's Partitas (including the one in this performance) has made me re-think my attitude about organ works with no pedals or limited pedals.
I played a service on a small organ tuned entirely in meantone this morning, definitely a lot of beautiful music you can make despite of (or maybe due to) the restraints!