Sat Dec 20, 2008 4:32 pm
During the last months I played the virtual Hinsz of Kampen almost on a daily basis, and the real Hinsz of Kampen every three weeks or so when attending organ lessons.
The sample set really shows the typical `Hinsz' or `Bovenkerk' sound, rather famous in the Netherlands. When attending concerts in the Bovenkerk it is crucial to choose a place her close to the organ. Otherwise the acoustics makes it very difficult to hear details. In fact, due to the acoustics it is very hard to determine, even by the professional organ player of the Bovenkerk, which of the two organs is played when entering the church (the church also contains a magnificent Reil organ). The acoustics also makes the organ sound rather friendly, never sharp or brutal, sometimes a bit to friendly, despite many high pitched stops. This also asks for a listening position relatively close to the organ.
Playing the sample set for the first time, the direct contact and relatively brutal sound surprised me positively. It means that the recording position is very well chosen. Apart from the physical toucher it really felt as playing in the church.
Apart from the 16' of the pedal the volume (of which Milan promised it will be corrected in subsequent volumes) and character of the stops closely resemble those in reality. This for example means that the 'Mixtuur bas' shows its rather high pitches, as in reality very often only the discant should be used in plenum registrations. As in reality, the Tertiaan serves quite well instead of a Sesquialter.
The 19th century (second) Bovenwerk clearly shows a rather different type of sound compare to the 17th century pipes of the Hoofdwerk. On the real organ we do not use it that much. This makes me looking forward enormously to the subsequent volumes.
One warning, having played Kampen every other organ, even the Metz, seems rather dry. I am very happy to be able to practice within such an acoustics. My organ teacher often said: you play it very nice if you were on a smaller organ in a smaller church, but here it is different. I still play some other sample sets regularly, but I load this set almost every day.
I recorded two pieces (mind that I'm not a professional):
Vater unser G. Bohm in Kampen: http://www.contrebombarde.com/concerthall/music/583
Praeludium in C Bach in Kampen: http://www.contrebombarde.com/concerthall/music/581
I also added recordings of the same pieces played on the Hinsz of Leens. Not so much to compare the two Hinsz organs, but because I promised to do so a time ago.
Vater unser G. Bohm in Leens: http://www.contrebombarde.com/concerthall/music/584
Praeludium in C Bach in Leens: http://www.contrebombarde.com/concerthall/music/582
The Hinsz organs have a completely different history and sound in a rather different acoustics.
After playing Kampen for a week or so I purchased active monitors replacing the 'normal' audio installation. It appears that it has a huge influence on the apprecation of a sample set. The Leens set really profits from the `colouring' of normal audio speakers, whereas in the case of the Kampen set it is the other way around. The huge acoustics really asks for a clear and direct output.
The sample set really shows the typical `Hinsz' or `Bovenkerk' sound, rather famous in the Netherlands. When attending concerts in the Bovenkerk it is crucial to choose a place her close to the organ. Otherwise the acoustics makes it very difficult to hear details. In fact, due to the acoustics it is very hard to determine, even by the professional organ player of the Bovenkerk, which of the two organs is played when entering the church (the church also contains a magnificent Reil organ). The acoustics also makes the organ sound rather friendly, never sharp or brutal, sometimes a bit to friendly, despite many high pitched stops. This also asks for a listening position relatively close to the organ.
Playing the sample set for the first time, the direct contact and relatively brutal sound surprised me positively. It means that the recording position is very well chosen. Apart from the physical toucher it really felt as playing in the church.
Apart from the 16' of the pedal the volume (of which Milan promised it will be corrected in subsequent volumes) and character of the stops closely resemble those in reality. This for example means that the 'Mixtuur bas' shows its rather high pitches, as in reality very often only the discant should be used in plenum registrations. As in reality, the Tertiaan serves quite well instead of a Sesquialter.
The 19th century (second) Bovenwerk clearly shows a rather different type of sound compare to the 17th century pipes of the Hoofdwerk. On the real organ we do not use it that much. This makes me looking forward enormously to the subsequent volumes.
One warning, having played Kampen every other organ, even the Metz, seems rather dry. I am very happy to be able to practice within such an acoustics. My organ teacher often said: you play it very nice if you were on a smaller organ in a smaller church, but here it is different. I still play some other sample sets regularly, but I load this set almost every day.
I recorded two pieces (mind that I'm not a professional):
Vater unser G. Bohm in Kampen: http://www.contrebombarde.com/concerthall/music/583
Praeludium in C Bach in Kampen: http://www.contrebombarde.com/concerthall/music/581
I also added recordings of the same pieces played on the Hinsz of Leens. Not so much to compare the two Hinsz organs, but because I promised to do so a time ago.
Vater unser G. Bohm in Leens: http://www.contrebombarde.com/concerthall/music/584
Praeludium in C Bach in Leens: http://www.contrebombarde.com/concerthall/music/582
The Hinsz organs have a completely different history and sound in a rather different acoustics.
After playing Kampen for a week or so I purchased active monitors replacing the 'normal' audio installation. It appears that it has a huge influence on the apprecation of a sample set. The Leens set really profits from the `colouring' of normal audio speakers, whereas in the case of the Kampen set it is the other way around. The huge acoustics really asks for a clear and direct output.
