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Santanyi demos Hauptwerk 2 - (Hauptwerk 1 click here)
Live recorded demos, performance by David Lines.
11. 8. 2006 demos by David Lines:
- Batalla Famosa - Anonimo.
This is a 14 minute long piece that is full of Clarins and Llamadas; uses
all the reeds and both beating stops "Terremoto".
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Andante fur eine Walze in eine kleine
Orgel - W.A. Mozart (1756-1791) G.O. Tap4
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Fugue from Veni Creator - DeGrigny.G.O. Fl16 Fl 8 Bd 8 Tp 4 played
by pedals, G.O. treble Bd 8 Tp 4 Corneta, Cad 8 4 Sab 8.
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Voluntary in D - John Alcock
(1715-1806) tuned in Valotti and transposed to C
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Little Harmonic Labyrinth BWV 591 -
J. S. Bach (1685-1750) G.O. Bordo, Cad Flutes 8+4; G.O + Flautada and Octava;
- Octava; + Flautada 16. tuned in Werckmeister III
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The Galliard (con moto vigoroso) -
WIlliam Byrd (1543-1623) G.O. Flaut 8 Oct 4, Cad Fl 8, 4 Saboina; G.O. + Ple.
6th Comma Meantone
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Captain Piper's Pavan - William
Byrd. G.O. Flaut 8 Bordo 8, Cad Flutes 8, 4. 6th Comma Meantone
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Voluntary II - G. F. Handel
(1685-1759) G.O. Flaut 8 Bordo 8; G.O. Bass + Flaut 16 Oct 4 Treble + Trompa
Batalla, Cad Flutes 8, 4 Saboiana. Werckmeister III
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Voluntary VI - G. F. Handel.
G.O. Flaut 8 Bordo 8; Bass + Flaut 16, Treble + Oct 4, Tr Real, Clarins; G.O.
Bordo 8. Werckmeister III
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Voluntary in G Minor - Samuel Long (18th
century) Valotti
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Trumpet Voluntary - John Travers
(1703-1758)
Other demos by David Lines
- Entrada de
clarines - Anonymous
- Clarins / Saboiana
- Toccata per
l'Organo del I tono - Da un manoscritto anonimo dell' Archivo musicale
del Duomo di Como
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tuned in 6th comma meantone
- Cancion de
clarin con eco - Anonymous
- Clarins / Saboiana
- Toccata III
toni - Anonymous
- Varried plenum
- Cancion de
clarin muy aprisa el compas - Anonymous
- Trompa / Cornet
- Toccata II
toni - Anonymous
- Principal chorus
- Cornet
Voluntary - Georg Berg (18th century)
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G.O. Flautat 16, 8 Octava 4, Cad. Flautat 8, 4, Cornet, tuned in Valotti
- Diferencias
Cavallero - Antonio de Cabezon (1510-1566)
- Principal, Octava, tuned in the Santanyi temperament
- Duo -
Cabezon
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Tapadet, Baixons / Flautad, Octava, Cornetta Magna,
tuned in the Santanyi temperament.
- Magnificat
tertii toni - Cabezon
G.O. Flautat 16, 8 Octava 4 played up an octave; Flautat 8,
tuned in the Santanyi temperament.
- Versus
Primi toni - Cabezon
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G.O. Flaut 8, Cad Flute 8, tuned in
the Santanyi temperament.
- Otra
cancion sea de tocar grave - Anonymous
- Regalies, Cornets
- Recit de
Chromhorne (Mass for the convents) - F Couperin
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G.O. Flautat 8, Bordo; Cad. Flautat 8, Saboiana 8.
- Toccata
per l'Elevatione - Girolamo Frescobaldi (1583-1643)
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G.O. Flautat 8 Bordo 8 / Flautat 8, Flute Dobles. 6th comma meantone.
- Dialogue
sur la Voix humaine (Mass for the Convents) - Francois Couperin
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Cad Fl8 G.O. Fl Dobles 8 Regalia 8.
- Intermezzo
- Francesco Rusca (Maestro di Capella del Duomo di Como nel 1600)
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G.O. Bordo (bass), Flautes Dobles.
- Fantasia
quarti toni - Tomas de Santa Maria.
- Flautat, tuned in meantone
- Fantasia
octavi toni - Tomas de Santa Maria.
- Flautat, Octava - tuned in meantone.
- Dialogue
sur le Grands Jeux from Veni Creator - De Grigny (1671-1703)
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full without Regalies, Dolciana, Ple Kornett in treble only.
- Voluntary
in C (set 1 no. 1) - John Stanley (1713-1786)
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G.O. Fl8 Bd8; Cad 8, 4, Duodecima G.O. Trmp Real8 Fl8; Cad 8, 4; Cad Fl8 G.O.
Tapadet 4.
- The
Emperor's Fanfare (from 6th Double Concerto) - Antonio Soler (1729-1783)
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Freely adapted, arranged and titled by E. Power Biggs. G.O. all but flutes
and regalia, Dolciana, Cad. Flutes 8, 4, Bass Sabiona/Treble Cornet,
Duodecima, Suriell, Ped Bombarde, original Santanyi temperament, transposed
to C.
MIDI-File Demos:
You can either listen to mp3 files listed below, or you
can download the whole package of wav files at once to make your own music CD.
The music is the same but the number of MB to download differs very much.
Wav files have been downsampled to CD quality (44.1kHz,
16bit). Originally, they were recorded by Hauptwerk in 24bit depth, 48kHz. Now
they are packed with rar for download. You can use them to burn your own
Santanyi organ music CD - the quality is far superior to the mp3 versions.
Basically, high frequencies are neglected or misinterpreted by mp3 format which
results in not precise rendition of organ sound and it also contributes to
increased noise.
The mp3 in low bitrate have usually 3-6 MB, while those
available in high bitrate have usually 12-17 MB. The music may occasionally
start some 15 sec. later than the file itself, since there might be the time
needed to make the stop preparation - the sound of the stop action and the organ
blower is heard in the demos!
Juan Bautista José Cabanilles (1644-1712): Tiento de VI tono
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I.
Flautat, Octava, Ple, Contres
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II.
1. Trompa reial
2. Flautat tapad, Octava tapada, Corneta
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III.
Flautat, Octava
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IV.
Trompa reial, Baixons, Xirimia
later (-Baixons, - Xirimia)
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V.
Flautat tapad, Octava tapada
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VI.
Flautat, Octava
(later with Clarins)
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VII.
Flautat, Octava, Ple, Contres, Bombarda
Trompeta reial
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Juan Bautista José Cabanilles (1644-1712): Tiento XV - Batalla imperial Punt
Baix
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I. Trompa Reial, Trompa Batalla
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II. Flautat, Octava, Regalies, Flautat Tapad,
Octava Tapada, Nasards, Saboiana RH
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III. Trompa Batalla, Flautat, Octava LH, Flautat
Tapad, Octava Tapad,
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IV. Flautat, Octava
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V. Trompa Reial, Trompa Batalla,
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VI. Flautat, Octava, Ple
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VII. Flautat Maior, Flautat, Octava, Ple, Trompa
Reial, Trompa Batalla,
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VIII. + Baixons, Clarins en 15, Clarins, Trompa
Magna, Xirimia, Bombarda
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Juan Bautista José Cabanilles (1644-1712): Tiento de Ave Maris Stella
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Left Hand
1. Bordo, Tapadet
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Right Hand
1. Flautat, Corneta Magna
2. Flautat Tapad, Octava Tapada, Corneta
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later
1. + Octava
2. + Siurell
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Finale
1. + Clarins
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Juan Bautista José Cabanilles (1644-1712): Toccata II de ma esquerra
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I.
RH: Flautat, Octava, Ple
LH: Flautat, Trompa reial, Nasards
(later LH -Trompa, -Nasards, +Octava +Ple)
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II.
Flautat Tapad, Octava Tapada, Corneta, Nasards, Saboiana LH
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III. see I.
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Juan Bautista José Cabanilles (1644-1712): Differencias de folias
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I.
Saboiana
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II.
Bordo, Octava
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III.
Flautat tapad, Octava Tapada
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IV.
Bordo, Flautes dobles
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V.
Flautat tapad
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VI.
Regalies, Bordo
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VII.
Flautat tapad, Corneta, Nasards
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VIII.
Flautat maior, Flautat
(later +Octava, + Fl. maior)
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IX.
Saboiana, Octava tapada
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X.
Trompa reial, Bordo
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Juan Bautista José Cabanilles (1644-1712): Pasacalles IV
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I. Flautat Maior left, Bordo left, Flautes dobles
II. +Flautat maior right
III. -Flautes dobles, + Octava right and later Left
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Juan Bautista José Cabanilles (1644-1712): Xacare de I tono
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I.
1. RH: Flautat, Bordo
2. Flautat tapad, Saboiana, Dinovena
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II.
Regalies, Dolcaina, Tapadet
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III.
Bordo, Tapadet, Xirimia, Regalies (Disc.)
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IV.
Trompa reial, Regalies (Bass), Xirimia alta, Tapadet
later: +Trompa Batalla
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Juan Bautista José Cabanilles (1644-1712): Tiento XII
de falsas
Antonio de Cabezon (1510-1566): Tiento de II modo
Juan Bautista José Cabanilles (1644-1712): Pasacalles I, de I tono
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I. Flautat Maior, Flautat
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II.Flautat tapad, Octava tapada,
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III. + Dinovena
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IV. Flautat, Octava
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V. Flautat tapad, Octava tapada, Saboiana
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Juan Bautista José Cabanilles (1644-1712): Tiento XXV de batalla
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I.
1. Bordo, Octava, Tapadet, Regalies
2. Flautat Tapad, Octava Tapada, Saboiana, Nasards, Corneta
(-Corneta -Nasard)
(+Corneta)
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II.a
1. +Trompeta Batalla
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II.b
+ Corneta Magna + Nasards +Clarins +Baixons + Tr. Magna
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III.
1. Pleno labial + Contres (last chords)
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Antonio de Cabezon (1510-1566): Diferencias sobre el Canto del Cavallero (intro)
Juan Bautista José Cabanilles (1644-1712): Tiento XVI, lleno
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I.
1. Flautat, Trompa Reial, Baixons, Clarins, Clarins en 15, Xirimia
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II.
1.Flautat, Octava, Ple
2. Flautat Tapad, Octava tapada, Nasards, Dinovena
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III.
1. Flautat, Octava
2. Flautat tapad, Octava tapada
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IV.
1. Flautat
2. Flautat tapad
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V.
+ Octava, + Octava tapada
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VI. See I.
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Juan Bautista José Cabanilles (1644-1712): Pasacalles IV
(another version)
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1. Bordo Bass, Flautat
Discant, Octava both
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Juan Bautista José Cabanilles (1644-1712): Tiento de falsas XVIII
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Flautat, Bordo
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Flautat Tapad
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Flautat, Bordo
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Juan Bautista José Cabanilles (1644-1712): Gagliarda
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1. Bordo, Octava
2. Flautat Tapad, Octava Tapada
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1. Bordo, Flautat,
2. Flautat Tapad
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1. + Tapadet
2. + Octava Tapada
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1. Dolcaina, Tapadet
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1. Regalies, Tapadet
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1. Flautat, Bordo, Octava
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1. + Ple
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1. + Trompeta reial
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1. + Baixons, Xirimia
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Other demo pieces
Althogh Santanyi organ is suitable for the Spanish
repertoir, I was surprised how also compositions from the other organ schools
sound on this sample set. The German and other music acquires unexpected fresh
taste when performed on the Santanyi organ. Musical purists will
disagree but I found this experience worthy. Well, recently I have got very
interenting comment-criticism from a real musical purist which I publish here
gratefully, since I believe it is very valuable from the musical point of view. If you wish,
read the comment of a musicologist!
The obvious limitation is the absence of the pedal. But
the bass part of the Grand Orgue manual can be used very well instead!
Georg Muffat (1653-1704): Toccata no. 8
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I. Flautat Tapad, Contres
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II. Flautat, Octava
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III. + Ple
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IV. Regalies, Bordo
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V. Bordo, Octava
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VI. Bordo, Nasards, Corneta magna
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VII. Bordo, Octava, Ple, later + Trompa reial)
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Giuseppe Antonio Vincento Aldrovandini (1673-1708):
Sinfonia
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I. bass: Flautat Bass, Bordo, Tapadet
II. Flautat Tapad, Octava tapada, Dinovena, Siurell
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I. solo: Trompeta batalla, Clarins
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Johann Christoph Pachelbel (1653-1706): Christ unser Herr zum Jordan kam
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1. Baixons
2. Flautat Tapad, Octava tapada
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Johann Christoph Pachelbel (1653-1706): Nun komm, der Heiden Heiland
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1. Baixons
2. Flautat Tapad, Octava tapada
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Johann Sebastian Bach (1685-1750): Trio BWV 583
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Flautat (bass)
Dolcaina, Flautat Maior (disc.)
Flautat tapad, Corneta
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Friedrich Christian Mohrheim (1719-1780): Trio in G
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1. Left: Flautat Maior, Flautat, Bordo
1. Right: Trompa Magna, Bordo, Tapadet
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2. Flautat tapad, Corneta
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Jan Køtitel Vaòhal (1739-1813): Fuga no. 9
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I. Flautat Maior, Flautat
II. Flautat tapad
III. + Octava
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Eugène Gigout (1844-1925): Grand Choeur Dialogué
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full organ in various vays
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The midi files used to record these demos originated at
www.classicalarchives.com or at
www.kunstderfuge.com and before
recording were carefully altered to suit the Santanyi organ.
The midi files used to record the second section were
kindly supplied by James Pressler
or are self-made.
Hauptwerk 1 demos
Juan Bautista José Cabanilles (1644-1712): Gagliarda
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Stop specification as above in the Hauptwerk 2 demo, i.e.:
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1. Bordo, Octava
2. Flautat Tapad, Octava Tapada
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1. Bordo, Flautat,
2. Flautat Tapad
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1. + Tapadet
2. + Octava Tapada
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1. Dolcaina, Tapadet
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1. Regalies, Tapadet
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1. Flautat, Bordo, Octava
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1. + Ple
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1. + Trompeta reial
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1. + Baixons, Xirimia
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Juan Bautista José Cabanilles (1644-1712): Tiento XV - Batalla imperial Punt
Baix
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Stop specification as in the Hauptwerk 2 demo above, intro
only
Juan Bautista José Cabanilles (1644-1712): Tiento de VI tono
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Stop specification as in the Hauptwerk 2 demo above, intro
only
Juan Bautista José Cabanilles (1644-1712): Tiento XXV de batalla
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Stop specification as in the Hauptwerk 2 demo above, intro
only
Antonio de Cabezon (1510-1566): Diferencias sobre el Canto del Cavallero (intro)
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Stop specification as in the Hauptwerk 2 demo above, intro
only
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