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"Der Tag der ist...." /Hinsz of Kampen

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Jim Reid

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"Der Tag der ist...." /Hinsz of Kampen

PostMon Dec 29, 2008 5:55 pm

Hi'

jb of the Netherlands posted four pieces from the Orgelbuchlein earlier.
He played these on the V 1 of the Heinz organ in Kampen as sampled by
Brett Milan; here,

http://www.contrebombarde.com/concerthall/music/593

Note: I found it best to Download the piece; playing back streaming,
seems to have distortion, at least as I tried. But the Download is
wonderful.

I have a question about his piece: what registration was used for the
"Der Tag der ist so freudenreich". Why?

I can hear clearly the "melody" line and the pedal notes, but the middle
parts (manual 8th and 16th notes) must have been played with only
one hand! The melody line is clear and evidently of a different
registration from those inner voices. In fact, the inner voices are not
even really audible -- they just seem to melt into the acoustics of the
huge space.

So, again, what registrations are used for both manuals and the pedal?
Very interested to learn, and then also play that piece is that way!

Thanks for info, jb......
Jim Reid
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jb

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PostTue Dec 30, 2008 2:41 am

I cannot remember exactly, but it must have been
Hoofdwerk:
Prestant '8
Holpijp' 8
Octaaf '4
SuperOctaaf '2
Mixtuur Discant

Pedaal: all available stops, coupled to the Hoofdwerk

I listened to it again, indeed it is disturbing that the middle parts are `hidden' unless they are above c' where the Mixtuur Discant comes in. I did not used the Mixtuur Bas (which we often do not use in the Bovenkerk) because it is rather high pitched. I could have used the Scherp and/or Quint to mask this.
Well, I will make some new recordings using different registrations.
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adri

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Re: "Der Tag der ist...." /Hinsz of Kampen

PostTue Dec 30, 2008 9:04 am

Jim Reid wrote:the Heinz organ in Kampen


I giggled a little about the typo, as Heinz is a ketchup company.

The builder was Albert Anthoni Hinsch, also written as Hinsz, Hins, Hintz, Hinz in old archival sources (by people who didn't know how to write it). The most commonly found spellings are Hinsch and Hinsz.

He married the widow of Frans Caspar Schnitger Sr., and thus Frans Caspar Jr. was his stepson, who later became an organ builder too and joined ranks with Heinrich Hermann Freytag (Freitag) ca. 1785. Freitag's son Eberhard was also a builder (a very minor figure). After that, the Schnitger line came to an end in Holland around the 3rd quarter of the 19th century.
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jb

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PostTue Dec 30, 2008 12:26 pm

I just added a few notes showing the Mixtuur Bas/Discant:
http://www.contrebombarde.com/concerthall/music/615

And the choral in different registrations, all with both Mixtuur Bas and Discant:
http://www.contrebombarde.com/concerthall/music/614

and

http://www.contrebombarde.com/concerthall/music/613

I now wonder, whether this Mixtuur issue is due to the history of the organ, or whether it was designed to be so for some reason.
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Jim Reid

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PostTue Dec 30, 2008 6:39 pm

jb and adri,

Thanks for your responses; yes, sometimes I type ahead of my brain,
thus the miss-spelling perhpas, or just my plain ignorance or carelessness.

So, the piece for the manual parts was played completely on one
manual, the Hoofdwerk.

I shall experiment some more, and learn the piece. Will see how I
get it to sound. Will try using your various mixture combination's as well

Thanks again.......
Jim Reid
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Grant_Youngman

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PostWed Dec 31, 2008 12:24 pm

Jim Reid wrote:
So, the piece for the manual parts was played completely on one
manual, the Hoofdwerk.



I have a recording by Wolfgang Stockmeier which registers this Chorale quite differently -- a sharp reed (maybe with a cornet or something else added) and a contrasting flue registration in the left hand. Also a more detache base line. That also works quite well. The figure in the left hand stands out very clearly throughout.
Grant
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Lougheed

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PostWed Dec 31, 2008 2:33 pm

Yep, Grant. That's the way I've always registered it.

Lawrence
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jb

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PostWed Dec 31, 2008 2:53 pm

Playing the melody on a different manual is a quite different approach, which can be very nice. If playing on two manuals is required this is clear from the title (a 2 clav). I think this choral (as many others of the Orgelbuchlein) is a nice example of how beautiful a choral harmonization can be when the middle parts are varied. In these cases the middle parts are not independent musical lines, but just fill in the chord in a varied manner. This type of composition, to me, do not ask for playing the melody on another manual.
Well, this just to clear up my approach (organ playing is only my hobby, although a serious one).

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