Auf meinem Youtube-Kanal („einer von weitem„) finden sich Einspielungen von Orgelwerken, die ich der Orgel-Emulations-Software Hauptwerk erstellt habe.  Dabei wird, vereinfacht dargestellt, der Klang einer realen Orgel Pfeife für Pfeife aufgenommen.  Die so gewonnene Klangbibliothek läßt sich in einem Rechner speichern und dann mit einem über MIDI angeschlossenen Spieltisch spielen.  Das Ergebnis ist akustisch nicht von einer CD-Aufnahme der realen Orgel zu unterscheiden.

My Youtube channel („einer von weitem„) contains recordings of music for organ that I have produced using the organ emulation software Hauptwerk.  Put simply this involves sampling (recording) the sound of an organ pipe by pipe.  The resulting sample set, stored on a computer hard disk, can be played from a console connected to the computer via MIDI.  The outcome is acoustically indistinguishable from a CD recorded with the real organ.

Ein Gesamtverzeichnis der verfügbaren Aufnahmen finden sich auf den Unterseiten dieser Seite.  Der Kanal als solcher enthält folgende Playlists:

A complete catalogue of the available recordings can be found on the subpages of this page.  The channel as such offers the following playlists:

English Organ Music: The early Georgians to about 1760

English Organ Music: The later Georgians to about 1840

William Goodwin: an 18th-century English organist

Henry Heron: an 18th-century English organist

Samuel Wesley (1766-1837)

Berlin im 18. Jahrhundert / 18th-century Berlin

Georg Andreas Sorge: Choralbearbeitungen

Georg Andreas Sorge: Orgeltrios

J.S. Bach und sein Choral „Ich ruf zu dir Herr Jesu Christ“

Berliner Choral-Buch 1830

Johann Ernst Rembt: Fughetten

Friedrich Wilhelm Zachow

Niels Wilhelm Gade

Compositori italiani

Domenico Zipoli


Playlists, die Einspielungen auf bestimmten Orgeln zusammenfassen:
Playlists grouping recordings made with specific organs:

Bureå Kyrka





Ein Gedanke zu “Videos

  1. Hello Andreas!

    I was delighted recently to discover your charmingly sensitive interpretations of the three little gems of organ-music by Kate Boundy, and to read the results of your researches into the all-too-brief life of this most interesting composer.

    In my selection of repertoire as a working organist I like to celebrate anniversaries, and this year, of course, we have had the 150th anniversaries of the births not only of the international figures Nielsen and Sibelius, but also of four great British organist-composers: Herbert Brewer, Alfred Hollins, Edwin Lemare, and William Wolstenholme. I was therefore disturbed to discover that in this context I had, until now, overlooked Kate Boundy. However, I look forward to rectifying that omission, albeit belatedly, as soon as the Festive Season is over.

    Regarding your note on tempi, I find that in „The Village Organist“ there are considerable discrepancies between the tempo markings and the estimated timings, even taking into account the fact that the durations quoted are apparently all rounded to the nearest half minute, which can give a high percentage of error with durations as short as one or two minutes. I hope you might be interested in my following remarks on the subject.

    In the „Andante grazioso“ I reckon a 2’00 performance would require a tempo of 52 dotted crotchets per minute, which does seem quite appropriate, whereas the suggested tempo of 66 would take only about 1’35, which, as you say, changes the character of the piece quite dramatically! As for the unhelpful instruction „In flowing time“, how can time do anything other than flow (metaphorically, at least)? Incidentally, I notice that you say that this piece was published in 1894: my copy says „Copyright, 1897“. Do you have some information which contradicts that?

    Returning to the tempo problems… „Even Song“ would take nearer 2’45 than 2’00 if it were played at a tempo of 104 quavers per minute. But why would anyone wish to count it in quaver beats at all? 2’00 can be achieved comfortably (as in your own performance) with about 60 dotted crotchets per minute. As for „Molto moderato“, that seems to me to be a contradiction in terms! Again, my date differs from yours: I have „Copyright, 1898“ (not 1897).

    In the „Andante patetico“ I reckon the suggested tempo of 40 minims per minute would give a duration of 2’12 (almost exactly that of your own performance) rather than the 1’30 stated. No problem with the date here!

    In spite of these problems, I think you have chosen entirely appropriate tempi, with just the right amount of rubato, for your delightful performances. Thank you for the pleasure they have given me.

    Best wishes for the Festive Season and beyond.

    Kerr Jamieson.

    Duror of Appin,
    North Argyll,

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