Fri Dec 10, 2021 5:47 am
Sonar11,
Although I don't have this particular sampleset, it does look as though it is an ideal instrument for playing quite a large section of the repertoire, particularly German Romantic music.
I have a number of samplesets, and the factors that determine whether I keep on returning to a particular one generally have very little to do with the size or the number of stops available, but the beauty of the sound, how well it is recorded, how realistic I find the experience of playing it, and how well it suits the particular pieces that I want to play. I have found many of the Sonus Paradisi instruments to be particularly satisfying.
There is no one organ that suits all the repertoire, though one of the skills required of an organist is to be able to adapt the music to the instrument that they have available so that the result works musically.
One of the joys of Hauptwerk is that it is possible to experience such a wide variety of organs from around the world, so that you can play Franck on a Cavaille-Coll instrument such as Caen, and Bach on organs that were around at the time by such masters as Schnitger (e.g. Groningen) and Silbermann (e.g. Freiberg), and then to compare them with the instruments that are more similar to the ones that he would have been more familiar with (such as Trost), and to modern instruments inspired by them (such as Velosovo and Poblet). There are even American organs available for those who have never played a European instrument and don't know any better.
So I would say that the lack of a tremulant is not a reason to cross this Saur organ off your list; when you are playing something that calls for a tremulant you can simply load up something else.
Although I don't have this particular sampleset, it does look as though it is an ideal instrument for playing quite a large section of the repertoire, particularly German Romantic music.
I have a number of samplesets, and the factors that determine whether I keep on returning to a particular one generally have very little to do with the size or the number of stops available, but the beauty of the sound, how well it is recorded, how realistic I find the experience of playing it, and how well it suits the particular pieces that I want to play. I have found many of the Sonus Paradisi instruments to be particularly satisfying.
There is no one organ that suits all the repertoire, though one of the skills required of an organist is to be able to adapt the music to the instrument that they have available so that the result works musically.
One of the joys of Hauptwerk is that it is possible to experience such a wide variety of organs from around the world, so that you can play Franck on a Cavaille-Coll instrument such as Caen, and Bach on organs that were around at the time by such masters as Schnitger (e.g. Groningen) and Silbermann (e.g. Freiberg), and then to compare them with the instruments that are more similar to the ones that he would have been more familiar with (such as Trost), and to modern instruments inspired by them (such as Velosovo and Poblet). There are even American organs available for those who have never played a European instrument and don't know any better.
So I would say that the lack of a tremulant is not a reason to cross this Saur organ off your list; when you are playing something that calls for a tremulant you can simply load up something else.