Organ (1620/1787) St Jan 's-Hertogenbosch NL, live registration July 1st 2023, Gerard Adriaanse

Описание: https://www.brabantorgel.nl/s-hertoge...

Programme:
1. Rondeau Reconstructie improvised/composed by Jacques van Oortmerssen 00:00
2. Récit de Tierce en taille composed by Nicolas de Grigny 07:18
3. Trois Petites Symphonies composed by Daan Manneke: 12:54
a. Antiphonaire I (festivo) 12:56
b. Plainte: Chaconne (molto adagio) 14:31 et Petite Fugue (allegretto) 16:52
c. Joie: Antiphonaire II (allegretto con fantasia) 18:50
4. Ciaccona from Partita for violin solo Nr. II BWV 1004 composed by Johann Sebastian Bach, transcription for organ by Geert Bierling 21:37

Notes to the programme:

1. Jacques van Oortmerssen (1950 – 2015) improvised this Rondeau during the International Improvisation Competition in Haarlem in July 1974, aged 24, on a theme given by Louis Toebosch, provided shortly before the improvisation.
Shortly afterwards he reconstructed and published the Rondeau. Rondeau is a form of music in which verses are interspersed with a recurring chorus. The chorus sounds fortissimo. The couplets in between are very different variations on (parts of) the theme with their own unique color. The spontaneity of the improvisation is evident.

2. Nicolas de Grigny (1672–1703) was organist in Paris and Reims during his short life. He published his Livre d'orgue in 1699, aged 27. None other than Johann Sebastian Bach copied the score, which shows his admiration for De Grigny. The Livre contains, as was customary in France at the time, an organ mass. The Récit is one of the verses on the Gloria, with the Tierce register soloing in tenor position.

3. Daan Manneke (1939), 'Kapellmeister of the Grote- or Onze-Lieve-Vrouwe-Kerk van Breda', composed this work in 1967, aged 27, for a composition competition in Averobode, Belgium. It was awarded the 1st prize. The movements are based on the compositions of the French masters such as Couperin and De Grigny, but in a sound language that is mainly inspired by Olivier Messiaen.

Although originally written for a small organ without a pedal, it can also be convincingly performed on a large instrument in a large room. The chaconne is a form characterized by a bass theme that is continuously repeated. Because a tongue work is used in the pedal, this piece also refers to the 'basse de trompette', a form that was often used by the French masters mentioned. Note the bird imitations in the accompaniment, following the example of Messiaen.

4. Finally, the greatest chaconna ever. (Bach used the Italian designation Ciaccona). The surviving manuscript of Bach (1685-1750) is dated 1720, when he was 35 years old. The repeated bass theme includes 4 bars. Each repetition, 64 in total, is a variation with its own character. The piece is written for violin solo.

A contemporary of Bach, Johann Friedrich Agricola, wrote that Bach often played this piece himself on clavichord (a keyboard instrument), and added as much harmony on the spot as he thought necessary at the time. In the course of time, many arrangements have been made to be able to perform the chaconne on instruments other than violin.

Geert Bierling often performed the ciaccona improvising on organ and harpsichord, following Agricola's description, working out harmonies on the spot according to the basso continuo practice that was common in Bach's time. On request, he has recently elaborated on this in this organ transcription.