11 Temmuz 2012 Çarşamba
Johann Woeckerl Organ in the Cathedral-Church of Saint-George in Sopron, Hungary, was built in 1633
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10 Temmuz 2012 Salı
9 Temmuz 2012 Pazartesi
Do you want your university to welcome the Google trike?
To contact us Click HERE
It's the Google Street View University Partners project, mapping the places where Google can't drive those cars that have been photographing streets all over the world all these years.
He's trying to influence university officials, who are on the left, mostly. They're susceptible to the violence-against-women set of arguments. If he were trying to influence people on the right, he'd deploy the terrorist bogeyman.
It's the Google Street View University Partners project, mapping the places where Google can't drive those cars that have been photographing streets all over the world all these years.
The company’s pitch to universities is that enabling anybody with an Internet connection to virtually stroll the grounds will help institutions satisfy the curiosity of prospective students, nostalgic alumni and helicopter parents....And if universities say no, what does that mean? They're protecting privacy? But "Google uses algorithms to automatically blur faces and license plates, and also offers an online form where people can request that certain images be removed."
It would be “really stupid,” and probably unlikely, for Google to intentionally trawl campus networks for data under the auspices of the Street View University Partners program, says [Siva Vaidhyanathan, a professor of media studies at the University of Virginia and a prominent critic of Google], adding that universities face a more immediate data risk by outsourcing campus e-mail and other cloud services to Google.We're already trusting Google. What's the point of mistrusting it about lesser things?
“We’re not talking about a great data meltdown,” says Vaidhyanathan. “But we are talking about the possibility of a person being identifiable as part of a university community” -- a person who might be dealing with a stalker, and who might not know to make a takedown request until after it is too late. Those are things that we have to keep in mind when dealing with real human beings through these systems... Google tends not to think of real human beings, but people at universities have that responsibility."Against the good of Google's Street View, how much weight would you give to the generic stalker? What about terrorists? Why doesn't Vaidhyanathan bring them up? My theory after the jump.
He's trying to influence university officials, who are on the left, mostly. They're susceptible to the violence-against-women set of arguments. If he were trying to influence people on the right, he'd deploy the terrorist bogeyman.
"Here's a tale of two states that should make Hoosiers glad they live on the east bank of the Wabash..."
To contact us Click HERE
"-- at least when it comes to paying for state government."
"-- at least when it comes to paying for state government."
Last week in Indiana, the Daniels administration announced that the state's budget reserves had topped $2 billion, enough to trigger $100 rebates for individual tax filers and $200 for couples who file jointly. In total, the state will give back about $300 million to taxpayers....Meanwhile, in Illinois...
Last year, Illinois lawmakers scrambled to close a budget shortfall estimated at $11 billion. Despite substantial tax increases and deep cuts in services, the state ended the 2012 fiscal year, which closed June 30, with a shortfall of more than $8 billion. In fact, Illinois' auditor general recently released a report describing the state's deficit as the nation's worst based on the percentage of revenue.I'm observing this from the next state over, Wisconsin, where we've been fighting over which of these 2 states we'd prefer to resemble.
"Mick looked at David and wondered if maybe this was the wave of the future."
To contact us Click HERE
"Mick was very conscious of doing whatever it takes to stay hot; David was the hottest thing around at the time."
Also, way in the end of the linked article, there's this statement from a female, about Mick: "I was very, very shocked by his smallness, his fragility... Such tiny little bones. But Mick was not fragile or demure as a lover. Being with him was not like sleeping with a bag of bones. He was very aggressive as a lover, very strong and confident." This female nevertheless refutes the assertion made by Keith Richards that Mick has a "tiny todger."
I know, you probably don't care about Mick Jagger.
If you are interested and want to buy the book, here's "Mick: The Wild Life and Mad Genius of Jagger." (And, by the way, thanks to readers who've been using my Amazon portal to buy whatever it is they buy. I notice and I'm always encouraged to see that you've cared enough to do that.)
"Mick was very conscious of doing whatever it takes to stay hot; David was the hottest thing around at the time."
Also, way in the end of the linked article, there's this statement from a female, about Mick: "I was very, very shocked by his smallness, his fragility... Such tiny little bones. But Mick was not fragile or demure as a lover. Being with him was not like sleeping with a bag of bones. He was very aggressive as a lover, very strong and confident." This female nevertheless refutes the assertion made by Keith Richards that Mick has a "tiny todger."
I know, you probably don't care about Mick Jagger.
If you are interested and want to buy the book, here's "Mick: The Wild Life and Mad Genius of Jagger." (And, by the way, thanks to readers who've been using my Amazon portal to buy whatever it is they buy. I notice and I'm always encouraged to see that you've cared enough to do that.)
"Rotten Tomatoes asks some of the biggest names in Hollywood: Name Your Five Favorite Films."
To contact us Click HERE
Links to the various lists are well-organized in this Metafilter post.
Which name did you impulsively click on first? I clicked on Werner Herzog, who likes "Freaks," "Intolerance," "Rashomon," "Nosferatu," and a movie I don't remember ever noticing before, "Where is the Friend's Home."
About "Rashomon" — which I once wrote an article about — he said:
Links to the various lists are well-organized in this Metafilter post.
Which name did you impulsively click on first? I clicked on Werner Herzog, who likes "Freaks," "Intolerance," "Rashomon," "Nosferatu," and a movie I don't remember ever noticing before, "Where is the Friend's Home."
About "Rashomon" — which I once wrote an article about — he said:
It is probably the only film that I've ever seen which has something like a perfect balance, which does not occur in filmmaking very often. You sense it sometimes in great music, but I haven't experienced it in cinema, and it's mind boggling. I don't know how [Akira] Kurosawa did it. It's still a mystery to me. That's greatness.
"I was surprised to find that the street where the Freewheelin’ cover was shot is so unassuming..."
To contact us Click HERE
"... that casual passersby would never know that anything special had happened there.
"... that casual passersby would never know that anything special had happened there.
It’s just a street. And it’s not even as nice-looking of a street as some of the others we encountered while walking around the West Village. There’s an alley behind a nearby Mexican restaurant that’s much more picturesque—like something that’s been frozen in time since the 1880s. But it hasn’t, of course. That Mexican restaurant, Panchito’s, wasn’t even there in Dylan’s time. It was a different establishment then: a café called The Fat Black Pussycat, where Dylan reportedly wrote “Blowin’ In The Wind” in 10 minutes one afternoon.Here's a blog post of mine from exactly last year about what Panchito's did to The Fat Black Pussycat. I also looked for a photo of The Fat Black Pussycat that I'm sure I must have taken back when I was living in NYC 4 years ago. I didn't find it, but I found this:
8 Temmuz 2012 Pazar
Los Angeles (CA): Walt Disney Concert Hall
To contact us Click HERE
4 Manuals, 110 Ranks, 73 Stops (+ 10 Ext. + 20 Tr.),
6134 Pipes
Builder: Glatter-Götz & Rosales, 2004
Frank Gehry Saint-Saens Symphony#3 for Organ
LISTEN TO THE ORGAN:
Part I
WILLIAM MATHIAS: Fanfare
JOSEF RHEINBERGER: Introduction & Passacaglia, from Sonata No. 8 in e, Op. 132
FANNIE DILLON: Woodland Flute Call
CÉSAR FRANCK: Pièce heroïque
Part II
ERIC DeLAMARTER: You raise the flute to your lips, from Four Eclogues.
PAUL DRAYTON: Pavan.
PETER HURFORD: Paean –Samuel Soria
(2003 Dobson/Cathedral of Our Lady of the Angels, Los Angeles, CA) Delos CD 3343
Part III
GEORGE BAKER: Berceuse-Paraphrase
HEALEY WILLAN: Introduction, Passacaglia and Fugue in e-flat
FREDERICK SWANN: 2 Encores (Allegro after Corelli; Trumpet Tune)
Filler–DILLON
DISPOSITION
I. Positive 21 (18)
Quintaton 16
Principal 8
Flûte harmonique 8
Gedackt 8
Gambe 8
Unda maris 8
Octave 4
Hohlflöte 4
Nasard 2 2/3
Super Octave 2
Waldflöte 2
Tierce 1 3/5
Larigot 1 1/3
Mixture IV 1 1/3
Llamada 16 Tr. Llam.
Cor anglais 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Cromorne 8
Llamada 4 Tr. Llam.
Clairon 4
+ Schweller
+ Tremolo
II. Great 36 (18)
Grand Bourdon 32 Ext., result.
Violonbasse 32 Tr. Ped.
Praestant 16
Bourdon 16 Tr. Ped. Sb.
Violonbasse 16 Ext.
Principal 8
Diapason à pavillon 8
Flûte harmonique 8
Chimney Flute 8
Violoncelle 8 Ext.
Grand Nasard 5 1/3
Octave 4
Spire Flute 4
Grande Tierce 3 1/5
Octave Quinte 2 2/3
Super Octave 2
Corneta magna VII
Grande Fourniture II-III 2 2/3
Mixture VIII 2
Cymbale IV 1
Contre Basson 32 Ext., Fac.
Basson 16
Trompeta de L.A. 8 Tr. Llam.
Basson 8
Basson 4
III. Swell 24 (20)
Bourdon 16
Diapason 8
Flûte traversière 8
Bourdon 8
Viole de gambe 8
Voix céleste 8 CC
Dulciane doux 8
Voix angélique 8 TC
Principal 4
Flûte octaviante 4
Nasard 2 2/3
Octavin 2
Tierce 1 3/5
Piccolo 1
Plein Jeu harmonique III-V 2 2/3
Bombarde 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Hautbois 8
Voix humaine 8
Clairon 4
+ Schweller
+ Tremolo fast
+ Tremolo slow
IV. Llamarada 17 (9)
Flautado grandioso 8
Octava real 4
Lleno fuerte V 2 2/3
Compuestas V 1 3/5
Llamada 16 Ext.,*
Bombardon 16
Llamada 8 hor., 17",*
Trompeta de L.A. 8 Fac., hor.,*
Trompeta armonica 8
Llamada 4 Ext.,*
ClarÃn armonico 4
+ 2 Campanitas (Glock.)
+ 2 Pajaritos (Nachtigall)
+ Schweller (außer *)
+ Tremolo (außer *)
Pedal 12 (8)
Flûte 32
Violonbasse 32 Facade
Praestant 16 Tr. Great
Subbass 16
Bourdon 16 Tr. Swell
Violonbasse 16 Tr. Great
Grosse Quinte 10 2/3
Octave 8
Flûte 8 Ext.
Bourdon 8 Ext. Subb.
Violoncelle 8 Tr. Great
Super Octave 4
Flûte 4 Ext.
Mixture V 5 1/3
Contre Bombarde 32 Ext.
Contre Basson 32 Tr. Great
Grande Bombarde 16
Bombardon 16 Tr. Llam.
Basson 16 Tr. Great
Trompeta (armonica) 8 Tr. Llam.
Basson 8 Tr. Great
ClarÃn (armonico) 4 Tr. Llam.
Basson 4 Tr. Great
4 Manuals, 110 Ranks, 73 Stops (+ 10 Ext. + 20 Tr.),
6134 Pipes
Builder: Glatter-Götz & Rosales, 2004
Frank Gehry Saint-Saens Symphony#3 for Organ
LISTEN TO THE ORGAN:
Part I
WILLIAM MATHIAS: Fanfare
JOSEF RHEINBERGER: Introduction & Passacaglia, from Sonata No. 8 in e, Op. 132
FANNIE DILLON: Woodland Flute Call
CÉSAR FRANCK: Pièce heroïque
Part II
ERIC DeLAMARTER: You raise the flute to your lips, from Four Eclogues.
PAUL DRAYTON: Pavan.
PETER HURFORD: Paean –Samuel Soria
(2003 Dobson/Cathedral of Our Lady of the Angels, Los Angeles, CA) Delos CD 3343
Part III
GEORGE BAKER: Berceuse-Paraphrase
HEALEY WILLAN: Introduction, Passacaglia and Fugue in e-flat
FREDERICK SWANN: 2 Encores (Allegro after Corelli; Trumpet Tune)
Filler–DILLON
DISPOSITION
I. Positive 21 (18)
Quintaton 16
Principal 8
Flûte harmonique 8
Gedackt 8
Gambe 8
Unda maris 8
Octave 4
Hohlflöte 4
Nasard 2 2/3
Super Octave 2
Waldflöte 2
Tierce 1 3/5
Larigot 1 1/3
Mixture IV 1 1/3
Llamada 16 Tr. Llam.
Cor anglais 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Cromorne 8
Llamada 4 Tr. Llam.
Clairon 4
+ Schweller
+ Tremolo
II. Great 36 (18)
Grand Bourdon 32 Ext., result.
Violonbasse 32 Tr. Ped.
Praestant 16
Bourdon 16 Tr. Ped. Sb.
Violonbasse 16 Ext.
Principal 8
Diapason à pavillon 8
Flûte harmonique 8
Chimney Flute 8
Violoncelle 8 Ext.
Grand Nasard 5 1/3
Octave 4
Spire Flute 4
Grande Tierce 3 1/5
Octave Quinte 2 2/3
Super Octave 2
Corneta magna VII
Grande Fourniture II-III 2 2/3
Mixture VIII 2
Cymbale IV 1
Contre Basson 32 Ext., Fac.
Basson 16
Trompeta de L.A. 8 Tr. Llam.
Basson 8
Basson 4
III. Swell 24 (20)
Bourdon 16
Diapason 8
Flûte traversière 8
Bourdon 8
Viole de gambe 8
Voix céleste 8 CC
Dulciane doux 8
Voix angélique 8 TC
Principal 4
Flûte octaviante 4
Nasard 2 2/3
Octavin 2
Tierce 1 3/5
Piccolo 1
Plein Jeu harmonique III-V 2 2/3
Bombarde 16
Llamada 8 Tr. Llam.
Trompeta de L.A. 8 Tr. Llam.
Trompette 8
Hautbois 8
Voix humaine 8
Clairon 4
+ Schweller
+ Tremolo fast
+ Tremolo slow
IV. Llamarada 17 (9)
Flautado grandioso 8
Octava real 4
Lleno fuerte V 2 2/3
Compuestas V 1 3/5
Llamada 16 Ext.,*
Bombardon 16
Llamada 8 hor., 17",*
Trompeta de L.A. 8 Fac., hor.,*
Trompeta armonica 8Llamada 4 Ext.,*
ClarÃn armonico 4
+ 2 Campanitas (Glock.)
+ 2 Pajaritos (Nachtigall)
+ Schweller (außer *)
+ Tremolo (außer *)
Pedal 12 (8)
Flûte 32
Violonbasse 32 Facade
Praestant 16 Tr. Great
Subbass 16
Bourdon 16 Tr. Swell
Violonbasse 16 Tr. Great
Grosse Quinte 10 2/3
Octave 8
Flûte 8 Ext.
Bourdon 8 Ext. Subb.
Violoncelle 8 Tr. Great
Super Octave 4
Flûte 4 Ext.
Mixture V 5 1/3
Contre Bombarde 32 Ext.
Contre Basson 32 Tr. Great
Grande Bombarde 16
Bombardon 16 Tr. Llam.
Basson 16 Tr. Great
Trompeta (armonica) 8 Tr. Llam.
Basson 8 Tr. Great
ClarÃn (armonico) 4 Tr. Llam.
Basson 4 Tr. Great
Oude Kerk Amsterdam
To contact us Click HERE
Oude Kerk Amsterdam
J.S.Bach - Toccata in C, BWV 566 - MATTEO IMBRUNO
J.S.Bach - Dies sind die heil'gen zehn gebot, BWV 678, MATTEO IMBRUNO
The organ and Sweelinck, a famous 16th century organist on this organ.
Matteo Imbruno plays Sweelinck's Ballo del Granduca at the Vater-Muller organ of the Oude Kerk of Amsterdam (NL)
The Old Church has a long tradition of having excellent organs and organists. Even during the fifteenth century, an organ was hanging on the west wall (tower wall) of the nave. In 1539, the church acquired a new instrument that was played between 1577 and 1621 by a famous organist by the name of Jan Pieterszoon Sweelinck.
The transept organ, restored to its seventeenth-century composition in 1965, was recently regiven a mean tone temperament, making it one of the best instruments imaginable, to perform the organ music of the Amsterdam 'Orpheus'.
The great organ
The large organ is constructed by Christiaan Vater (1724-1726) of Hannover and is restored by Johan Caspar Muller (the St Bavo-church in the city of Haarlem, NH). Shortly after the completion of the organ the church-tower began to sink (1738-1742). The entire organ needed to be dismantled, and Caspar Muller was chosen to rebuild the organ and to add nine new stops and to double the principals in the treble. In 1869-1870 the organ was revoiced to conform to contemporary taste by C.F.G. Witte
On the original organ (built in 1539 by Hans van Coelen and Hendrick Niehoff) Jan Pieterszoon Sweelinck (1562-1621) made his first musical compositions.
In 1724, the church wardens of the Old Church commissioned Christian Vater, the Hamburg organ builder, to build an entirely new organ to replace the old one. Vater completed this organ in 1726 and the churchwardens were very pleased: the instrument was “absolutely perfect in every way”. In 1738, the tower began to subside. For restoration activities, the organ had to be dismantled. Once the tower had been restored, Caspar Müller was commissioned to re-install the organ. Not only did Müller put it back, but he made major changes as well, his belief being that after its renovation, the organ ‘should speak promptly and forcefully and should be heard during the singing’. The Vater-Müller organ would remain largely unchanged until 1869 when G.F.H. Witte updated it to accommodate contemporary tastes requiring a sound that was less sharp and more rounded. Although Witte changed the sound, hardly a piece of the original material was lost. Since Witte’s renovation, the organ has remained unchanged.
Allegro Organ Concert nr 10by Georg Friederich Händel (1685-1759)
Feike Asma plays a toccata on by J. Zwart on the organ of the oude kerk in Amsterdam
DISPOSITION GREAT ORGAN
Hoofdwerk
Prestant 16
Bourdon 16
Prestant 8
Holpijp 8
Quint 5 1/3
Octaaf 4
Roerfluit 4
Roerquint 2 2/3
Octaaf 2
Fluit 2
Sexquialter IV
Mixtuur V-VIII
Scherp IV-VI
Trompet 16
Trompet 8
Rugwerk
Prestant 8
Holpijp 8
Quintadena 8
Octaaf 4
Gemshoorn 4
Quint 2 2/3
Octaaf 2
Woudfluit 2
Cornet V
Sexquialter II-IV
Carillon III-IV
Mixtuur V-VIII
Scherp III-V
Fagot 16
Trompet 8
+ Tremulant
Bovenwerk
Quintadena 16
Prestant 8
Baarpijp 8
Quintadena 8
Viola di Gamba 8
Octaaf 4
Gemshoorn 4
Nasard 2 2/3
Sexquialter IV
Cymbel III
Trompet 8
Dulciaan 8
Vox Humana 8
+ Tremulant
Pedaal
Prestant 16
Subbas 16
Prestant 8
Roerquint 5 1/3
Octaaf 4
Nachthoorn 2
Mixtuur VI
Bazuin 16
Trompet 8
Trompet 4
Cinq 2
beluister dit concert >>
The Old Church Organ has always been admired. It was once mentioned in the famous 18th-century travelogue written by Charles Burney. Even today, it attracts organ enthusiasts – both listeners and players – from all over the world.
The case for the organ was designed by Jurriaan Westerman. Above the organ are the old city seal of Amsterdam with the cargo ship and the city’s coat of arms with the three Andreas crosses.
The small (or transept) organ
This organ was built in 1658 by the famous organ maker Hans Wolff Schonat. In building it, he used some of the pipes taken from another organ at this location that had been built by Hendrik Niehoff.
The small or transept organ of the Oude Kerk in Amsterdam has two blinds with paintings representing musical instruments. These paintings are made by Cornelis Brizé and were completed in 1658 at the time the original organ was ready.
Dutch/Italian organist Matteo Imbruno plays Scheidemann's "Alleluja" at the Transept organof the Oude Kerk of Amsterdam (NL)
DISPOSITION TRANSEPT ORGAN
Transeptorgel
Hoofdwerk (C-d''') Prestant 8'
Holpijp 8'
Quintadena 8'
Octaaf 4'
Quint 3'
Super Octaaf 2'
Gemshoorn 2'
Mixtuur
Scherp
Trompet 8'
Borstwerk Gedekt 8'
Prestant 4'
Octaaf 2'
Dulciaan 8' Pedaal (C-d') Bourdon 16'
Octaaf 8'
Trompet 8' Tremulant
koppel: Ped + Hw Toonhoogte
a'=440 Hz Stemming
1/4 komma middentoon
The instrument was used for concerts commissioned by the city’s administration. During the 18th century, it was used less and less frequently so that when an organ had to be built for the Zuiderkerk in 1821, the pipes from the small organ in the Old Church were used. The case, however, remained behind. In 1964 and 1965, a new organ was built for the old organ case by organ makers Ahrend & Brunzema from the East Friesian town of Loga near Leer. Its disposition was taken from the famous collection of dispositions of Joachim Hess, an organist from Gouda, and dates from 1774. It has become a beautiful instrument with great artistic eloquence and was even enlarged after being retuned in 2001 to a 17th-century mean-tone tuning.
The cabinet organ
The cabinet organ was built in 1767 by Amsterdam organ maker Deetlef Onderhorst, supposedly for a private client. In 1946, the organ was repaired by organ builder A. Blik who also replaced its manual wind chest with an electronic system. In 1977, the organ was completely restored by Adema's Kerkorgelbouw. The restoration included having the cabinet restored and completed and removing the white coat of paint that had been added in 1953.
DISPOSITION CABINET ORGAN
Kabinetorgel
Holpijp 8 vt. gehalveerd
Prestant 8 vt. discant
Prestant 4 vt. gehalveerd
Fluyt 4 vt. Gehalveerd
Quint 3 vt. bas
Octaaf 2 vt. gehalveerd
Sexquialte 2 vt. sterk, discant
After its most recent restoration, the organ was installed in the choir of the Old Church.
Chaconne in F from the 9th Suite "Uranie" by Johann Caspar Ferdinand Fischer at the choir organ of the Oude Kerk (Amsterdam, NL)
Oude Kerk Amsterdam
J.S.Bach - Toccata in C, BWV 566 - MATTEO IMBRUNO
J.S.Bach - Dies sind die heil'gen zehn gebot, BWV 678, MATTEO IMBRUNO
The organ and Sweelinck, a famous 16th century organist on this organ.
Matteo Imbruno plays Sweelinck's Ballo del Granduca at the Vater-Muller organ of the Oude Kerk of Amsterdam (NL)
The Old Church has a long tradition of having excellent organs and organists. Even during the fifteenth century, an organ was hanging on the west wall (tower wall) of the nave. In 1539, the church acquired a new instrument that was played between 1577 and 1621 by a famous organist by the name of Jan Pieterszoon Sweelinck.
The transept organ, restored to its seventeenth-century composition in 1965, was recently regiven a mean tone temperament, making it one of the best instruments imaginable, to perform the organ music of the Amsterdam 'Orpheus'.
The great organ
The large organ is constructed by Christiaan Vater (1724-1726) of Hannover and is restored by Johan Caspar Muller (the St Bavo-church in the city of Haarlem, NH). Shortly after the completion of the organ the church-tower began to sink (1738-1742). The entire organ needed to be dismantled, and Caspar Muller was chosen to rebuild the organ and to add nine new stops and to double the principals in the treble. In 1869-1870 the organ was revoiced to conform to contemporary taste by C.F.G. Witte
On the original organ (built in 1539 by Hans van Coelen and Hendrick Niehoff) Jan Pieterszoon Sweelinck (1562-1621) made his first musical compositions.
In 1724, the church wardens of the Old Church commissioned Christian Vater, the Hamburg organ builder, to build an entirely new organ to replace the old one. Vater completed this organ in 1726 and the churchwardens were very pleased: the instrument was “absolutely perfect in every way”. In 1738, the tower began to subside. For restoration activities, the organ had to be dismantled. Once the tower had been restored, Caspar Müller was commissioned to re-install the organ. Not only did Müller put it back, but he made major changes as well, his belief being that after its renovation, the organ ‘should speak promptly and forcefully and should be heard during the singing’. The Vater-Müller organ would remain largely unchanged until 1869 when G.F.H. Witte updated it to accommodate contemporary tastes requiring a sound that was less sharp and more rounded. Although Witte changed the sound, hardly a piece of the original material was lost. Since Witte’s renovation, the organ has remained unchanged.
Allegro Organ Concert nr 10by Georg Friederich Händel (1685-1759)
Feike Asma plays a toccata on by J. Zwart on the organ of the oude kerk in Amsterdam
DISPOSITION GREAT ORGAN
Hoofdwerk
Prestant 16
Bourdon 16
Prestant 8
Holpijp 8
Quint 5 1/3
Octaaf 4
Roerfluit 4
Roerquint 2 2/3
Octaaf 2
Fluit 2
Sexquialter IV
Mixtuur V-VIII
Scherp IV-VI
Trompet 16
Trompet 8
Rugwerk
Prestant 8
Holpijp 8
Quintadena 8
Octaaf 4
Gemshoorn 4
Quint 2 2/3
Octaaf 2
Woudfluit 2
Cornet V
Sexquialter II-IV
Carillon III-IV
Mixtuur V-VIII
Scherp III-V
Fagot 16
Trompet 8
+ Tremulant
Bovenwerk
Quintadena 16
Prestant 8
Baarpijp 8
Quintadena 8
Viola di Gamba 8
Octaaf 4
Gemshoorn 4
Nasard 2 2/3
Sexquialter IV
Cymbel III
Trompet 8
Dulciaan 8
Vox Humana 8
+ Tremulant
Pedaal
Prestant 16
Subbas 16
Prestant 8
Roerquint 5 1/3
Octaaf 4
Nachthoorn 2
Mixtuur VI
Bazuin 16
Trompet 8
Trompet 4
Cinq 2
beluister dit concert >>
The Old Church Organ has always been admired. It was once mentioned in the famous 18th-century travelogue written by Charles Burney. Even today, it attracts organ enthusiasts – both listeners and players – from all over the world.
The case for the organ was designed by Jurriaan Westerman. Above the organ are the old city seal of Amsterdam with the cargo ship and the city’s coat of arms with the three Andreas crosses.
The small (or transept) organ
This organ was built in 1658 by the famous organ maker Hans Wolff Schonat. In building it, he used some of the pipes taken from another organ at this location that had been built by Hendrik Niehoff.
The small or transept organ of the Oude Kerk in Amsterdam has two blinds with paintings representing musical instruments. These paintings are made by Cornelis Brizé and were completed in 1658 at the time the original organ was ready.
Dutch/Italian organist Matteo Imbruno plays Scheidemann's "Alleluja" at the Transept organof the Oude Kerk of Amsterdam (NL)
DISPOSITION TRANSEPT ORGAN
Transeptorgel
Holpijp 8'
Quintadena 8'
Octaaf 4'
Quint 3'
Super Octaaf 2'
Gemshoorn 2'
Mixtuur
Scherp
Trompet 8'
Borstwerk
Prestant 4'
Octaaf 2'
Dulciaan 8'
Octaaf 8'
Trompet 8'
koppel: Ped + Hw
a'=440 Hz
1/4 komma middentoon
The instrument was used for concerts commissioned by the city’s administration. During the 18th century, it was used less and less frequently so that when an organ had to be built for the Zuiderkerk in 1821, the pipes from the small organ in the Old Church were used. The case, however, remained behind. In 1964 and 1965, a new organ was built for the old organ case by organ makers Ahrend & Brunzema from the East Friesian town of Loga near Leer. Its disposition was taken from the famous collection of dispositions of Joachim Hess, an organist from Gouda, and dates from 1774. It has become a beautiful instrument with great artistic eloquence and was even enlarged after being retuned in 2001 to a 17th-century mean-tone tuning.
The cabinet organ
The cabinet organ was built in 1767 by Amsterdam organ maker Deetlef Onderhorst, supposedly for a private client. In 1946, the organ was repaired by organ builder A. Blik who also replaced its manual wind chest with an electronic system. In 1977, the organ was completely restored by Adema's Kerkorgelbouw. The restoration included having the cabinet restored and completed and removing the white coat of paint that had been added in 1953.
DISPOSITION CABINET ORGAN
Kabinetorgel
Holpijp 8 vt. gehalveerd
Prestant 8 vt. discant
Prestant 4 vt. gehalveerd
Fluyt 4 vt. Gehalveerd
Quint 3 vt. bas
Octaaf 2 vt. gehalveerd
Sexquialte 2 vt. sterk, discant
After its most recent restoration, the organ was installed in the choir of the Old Church.
Chaconne in F from the 9th Suite "Uranie" by Johann Caspar Ferdinand Fischer at the choir organ of the Oude Kerk (Amsterdam, NL)
Organ St. Bavo Haarlem
To contact us Click HERE
Christian Müller Organ 1735 -1738.
The organ builder Christian Müller and the sculptor Jan van Logteren, both of Amsterdam, built the instrument in 1735 -1738. With its sixty-four stops and imposing 32 foot pedal towers it was for many years the largest organ in the world.
Soon after its completion the organ became a tourist attraction with international fame and it still is. It was played by G.F. Händel in 1740 and ’50, who travelled to Haarlem especially for this purpose, and in 1766 the ten-year-old Mozart was on the organ.
Dietrich Buxtehude (c. 1637-1707) Praeludium in d-dur BuxWV 139
Piet Kee at the Christian Müller organ of the St. Bavokerk in Haarlem
In the nineteenth and twentieth centuries considarable alterations were made according to the dictates of the time. The purpose of the major restoration of 1959 -1961 by Marcussen & Son was to restore the organ as far as possible to its original state. In the years 1987 - 2000 Flentrop Orgelbouw worked on the voicing of the instrument.
Johann Sebastian Bach (1685-1750)Toccata in F major BWV 540
Marie-Claire Alain at the Christian Müller organ of St. Bavokerk in Haarlem (Holland)
Wachet Auf, J.S.Bach
MOZART ON ST. BAVO
Fantasie In Fa-mineur of W.A. Mozart ,performed by Bernhard Bartelink.
HISTORY
With the organ of Haarlem its maker, Christiaan Müller, a German by origin, has placed himself among the great organ builders not only of his time, but of all times. Although it has been radically restored several times – the last big restoration was carried out in 1959-60 by the Danish company Marcussen – the organ has retained its original concept with yet about 90% of the pipes. During the past years the organ building company Flentrop from Zaandam, that is maintaining the organ, has carried out a number of retunings, through which the sound again closely approaches the original. The sound can be described as broad, prominent, and despite the countless nuances exceptionally homogeneous. Famous is the Cornet, the register that is placed to enable strengthening of the melody of the psalm, and the Vox Humana, or imitation of the human voice, with which Händel was very charmed, as we know. Of course, the superb acoustics of the church contributes to the beauty of the instrument's sound. Händel, Mozart and Mendelssohn number along the many celebrated visitors who have travelled far to play the instrument.
Some technical data: The organ counts more than 5000 pipes, divided over 64 stops, with three manuals and a pedal. The case is made of pinewood and painted in mahogany; all pipes are made of metal (an alloy of lead and tin), the play-register action is mechanical tracker (renewed in 1960). The tuning is even, which is a concession to the present concert practice, in which not only Baroque music, but also music from all style periods is performed. The Müller organ is played mainly in the summer period at the mentioned city concerts and during the church services on Sundays. In the summer the city organ concerts attract many visitors each week.
Buxtehude Prelude and Fugue in D
J.S. Bach - Choral Prelude - BWV 622
"O Mensch Bewein Dein Sunde Gross"
STOPLIST
Hoofdwerk
Praestant 1,2 st.16'
Bourdon 16'
Octaaf 1,2 st. 8'
Roerfluit 8'
Viola di Gamba (conisch) 8' 1
Roerquint 6'
Octaaf 4'
Gemshorn 4'
Quint-praesant 3'
Woudfluit 2'
Tertiaan 2 st. 2'
Mixtuur 4-10 st. 2-8'
Scherp 6,7,8 st. 1 1/2' 1
Trompet 16'
Trompet 8'
Hautbois 8'
Trompet 4'
Rugpositief
Praestant 2 st. 8'
Quintadena 8' 1
Holpijp 8'
Octaaf 4'
Fluit Douce 4'
Speelfluit 3'
Super Octaaf 2'
Sesquialter 2, 3, 4 st.
Cornet 4 st. discant
Mixtuur 6, 8 st. 1'
Cymbaal 3 st. 1
Fagot 16'
Trompet 8'
Trechter regaal 8' 1
Tremulant
Bovenwerk
Quintadena 16'
Praestant 2 st. 8
Quintadena 8'
Baarpijp 8'
Octaaf 4'
Flagfluit 4'
Nasard 3
Nachthoorn 2'
Flageolet 1 1/2'
Sesquialter 2 st.
Mixtuur 4,5,6 st.2' 1
Cymbaal 3 st. (+terts) 1
Schalmei 8'
Dolceaan 8'
Vox humana 8'
Tremulant
Pedaal
Principaal 32'
Praestant 16'
Subbas 16' 1
Roerquint 12'
Octaaf 8'
Holfluit 8'
Quintpraestant 6'
Octaaf 4'
Holfluit 2'
Mixtuur 6-10 st. 2 2
Ruischpijp 4 st. (+terts) 3' 1
Bazuin 32'
Bazuin 16'
Trompet 8'
Trompet 4'
Cink 2'
1) Newly made in 1961
2) Added to the disposition in 1961
All pipes of all stops (64) are made of metal.
Works by Charpentier,Boyce and Derx.
Bist du bei mir J.S.Bach and an improvisation on
YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THE ST. BAVO ORGAN BY CLICKING ON A LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.
YouTube - Feike Asma Liebster Jesu
Pipe Organ splendour
St. Bavo Haarlem: Herre Gud, ditt dyre navn og aere
The Great Organ at Haarlem St. Bavo Church
Bass Pig's Rendition of Danse Macabre for Organ
YouTube - Haarlem St. Bavo Bass Pig's Rendition of Danse Macabre for Organ
JS Bach: Ach Gott Und Herr, BWV 714 (St. Bavo: ...
YouTube - Bach Chorale Prelude at St. Bavo
JS Bach: Chorale Prelude: O Mensch Bewein Dein Sunde Gross, BWV 622
JS Bach: Christ Lag In Todesbanden, BWV 625 (Michael Murray)
Marcello, Organ at St. Bavo in Haarlem, Netherlands
Haydn, Flute Clocks
JS Bach: FUGUE in Eb (St. Anne), BWV 552
James Pollard - Bruhns e minor Praeludium
James Pollard - Bach Prelude C major Bwv545
You Tube Organ at St. Bavo in Haarlem, Netherlands You Tube
Christian Müller Organ 1735 -1738. The organ builder Christian Müller and the sculptor Jan van Logteren, both of Amsterdam, built the instrument in 1735 -1738. With its sixty-four stops and imposing 32 foot pedal towers it was for many years the largest organ in the world.
Soon after its completion the organ became a tourist attraction with international fame and it still is. It was played by G.F. Händel in 1740 and ’50, who travelled to Haarlem especially for this purpose, and in 1766 the ten-year-old Mozart was on the organ.
Dietrich Buxtehude (c. 1637-1707) Praeludium in d-dur BuxWV 139
Piet Kee at the Christian Müller organ of the St. Bavokerk in Haarlem
In the nineteenth and twentieth centuries considarable alterations were made according to the dictates of the time. The purpose of the major restoration of 1959 -1961 by Marcussen & Son was to restore the organ as far as possible to its original state. In the years 1987 - 2000 Flentrop Orgelbouw worked on the voicing of the instrument.
Johann Sebastian Bach (1685-1750)Toccata in F major BWV 540
Marie-Claire Alain at the Christian Müller organ of St. Bavokerk in Haarlem (Holland)
Wachet Auf, J.S.Bach
MOZART ON ST. BAVO
Fantasie In Fa-mineur of W.A. Mozart ,performed by Bernhard Bartelink.
HISTORY
With the organ of Haarlem its maker, Christiaan Müller, a German by origin, has placed himself among the great organ builders not only of his time, but of all times. Although it has been radically restored several times – the last big restoration was carried out in 1959-60 by the Danish company Marcussen – the organ has retained its original concept with yet about 90% of the pipes. During the past years the organ building company Flentrop from Zaandam, that is maintaining the organ, has carried out a number of retunings, through which the sound again closely approaches the original. The sound can be described as broad, prominent, and despite the countless nuances exceptionally homogeneous. Famous is the Cornet, the register that is placed to enable strengthening of the melody of the psalm, and the Vox Humana, or imitation of the human voice, with which Händel was very charmed, as we know. Of course, the superb acoustics of the church contributes to the beauty of the instrument's sound. Händel, Mozart and Mendelssohn number along the many celebrated visitors who have travelled far to play the instrument.
Some technical data: The organ counts more than 5000 pipes, divided over 64 stops, with three manuals and a pedal. The case is made of pinewood and painted in mahogany; all pipes are made of metal (an alloy of lead and tin), the play-register action is mechanical tracker (renewed in 1960). The tuning is even, which is a concession to the present concert practice, in which not only Baroque music, but also music from all style periods is performed. The Müller organ is played mainly in the summer period at the mentioned city concerts and during the church services on Sundays. In the summer the city organ concerts attract many visitors each week.
Buxtehude Prelude and Fugue in D
J.S. Bach - Choral Prelude - BWV 622
"O Mensch Bewein Dein Sunde Gross"
STOPLIST
Hoofdwerk
Praestant 1,2 st.16'
Bourdon 16'
Octaaf 1,2 st. 8'
Roerfluit 8'
Viola di Gamba (conisch) 8' 1
Roerquint 6'
Octaaf 4'
Gemshorn 4'
Quint-praesant 3'
Woudfluit 2'
Tertiaan 2 st. 2'
Mixtuur 4-10 st. 2-8'
Scherp 6,7,8 st. 1 1/2' 1
Trompet 16'
Trompet 8'
Hautbois 8'
Trompet 4'
Rugpositief
Praestant 2 st. 8'
Quintadena 8' 1
Holpijp 8'
Octaaf 4'
Fluit Douce 4'
Speelfluit 3'
Super Octaaf 2'
Sesquialter 2, 3, 4 st.
Cornet 4 st. discant
Mixtuur 6, 8 st. 1'
Cymbaal 3 st. 1
Fagot 16'
Trompet 8'
Trechter regaal 8' 1
Tremulant
Bovenwerk
Quintadena 16'
Praestant 2 st. 8
Quintadena 8'
Baarpijp 8'
Octaaf 4'
Flagfluit 4'
Nasard 3
Nachthoorn 2'
Flageolet 1 1/2'
Sesquialter 2 st.
Mixtuur 4,5,6 st.2' 1
Cymbaal 3 st. (+terts) 1
Schalmei 8'
Dolceaan 8'
Vox humana 8'
Tremulant
Pedaal
Principaal 32'
Praestant 16'
Subbas 16' 1
Roerquint 12'
Octaaf 8'
Holfluit 8'
Quintpraestant 6'
Octaaf 4'
Holfluit 2'
Mixtuur 6-10 st. 2 2
Ruischpijp 4 st. (+terts) 3' 1
Bazuin 32'
Bazuin 16'
Trompet 8'
Trompet 4'
Cink 2'
1) Newly made in 1961
2) Added to the disposition in 1961
All pipes of all stops (64) are made of metal.
Works by Charpentier,Boyce and Derx.
Bist du bei mir J.S.Bach and an improvisation on
YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THE ST. BAVO ORGAN BY CLICKING ON A LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.
YouTube - Feike Asma Liebster Jesu
Pipe Organ splendour
St. Bavo Haarlem: Herre Gud, ditt dyre navn og aere
The Great Organ at Haarlem St. Bavo Church
Bass Pig's Rendition of Danse Macabre for Organ
YouTube - Haarlem St. Bavo Bass Pig's Rendition of Danse Macabre for Organ
JS Bach: Ach Gott Und Herr, BWV 714 (St. Bavo: ...
YouTube - Bach Chorale Prelude at St. Bavo
JS Bach: Chorale Prelude: O Mensch Bewein Dein Sunde Gross, BWV 622
JS Bach: Christ Lag In Todesbanden, BWV 625 (Michael Murray)
Marcello, Organ at St. Bavo in Haarlem, Netherlands
Haydn, Flute Clocks
JS Bach: FUGUE in Eb (St. Anne), BWV 552
James Pollard - Bruhns e minor Praeludium
James Pollard - Bach Prelude C major Bwv545
You Tube Organ at St. Bavo in Haarlem, Netherlands You Tube
Organ Martini Kerk Schnitger Groningen
To contact us Click HERE
Great musicians such as Bach, Handel etc. wrote their music for the organ as an expression of their faith.
They express:
You are my God, and I will praise You; You are my God, I will exalt You. Psalms 118:28 NKJ
May you, as you listen to these magnificent instruments, in thought be transported to also glorify your maker.
Soli Deo Gloria
Georg Böhm (1661-1733)
Chorale Prelude "Aus tiefer Not schrei ich zu dir"
Chorale Prelude "Vater unser im Himmelreich"
Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen
Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"
Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen
Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"
Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen
Organ builder Jürgen Ahrend discusses his restoration of the Arp Schnitger pipe organ at the Martinikerk, Groningen, Netherlands. Musical improvisation by Sietze de Vries.
Celebrated performers like Marie-Claire Alain, Ton Koopman, Gustav Leonhardt, Michael Radulescu, Wim van Beek and Harald Vogel have played the organ in recent years and consider it to be one of the finest instruments in the world both because of its excellent playability (mechanics by Jürgen Ahrend) and its wonderfull sound, in the individual stops (some dating back to the 15th century) as well as in the majestic full organ.
Johann Ludwig Krebs: Von Gott will ich nicht lassen. Played by Liga Vilmane (Latvia)
The organ is the only instrument in the world that still possesses orginal 32-foot prestant pipes originally manufactured by the great Arp Schnitger in the years 1690/91.
HISTORY
The Martinikerk organ in Groningen can look back on a long and eventful history. The church itself acquired its present form in the early 16th century. The original three-aisled cruciform basilica dates from around 1220 and was enlarged in around 1425 with the addition of a high Gothic chancel. Some twenty-five years later the nave was rebuilt, resulting in the Gothic hall church that we know today. A Renaissance chapel was added next to the north tympanum at the beginning of the 16th century. Meanwhile, the tower had been struck by lightning in 1465 and collapsed. Rebuilding work on it was not completed until 1550. Ninety-six metres high, this Martinitoren is the pride of the town.
The Martinikerk's first organ dates from around 1450. This instrument was rebuilt in around 1482, probably by Johan ten Damme. Expert advice was provided by the famous humanist Rudolph Agricola, who was Groningen's town clerk at this time. It must have been a particularly fine organ as the present instrument still contains a number of pipes dating from 1482, attesting to their exceptional quality This Gothic organ was altered, enlarged and rebuilt in the Renaissance style in 1542 by an unknown builder. It was further rebuilt and enlarged by Anthoni Verbeeck in 1627/8, by Jan Helman in 1685-90, by Arp Schnitger in 1691/2, by Frans Caspar Schnitger and Albertus Anthoni Hinsz in 1729/30 and again by Hinsz in 1740.
Marie-Claire Alain plays extracts from Fantasy and Fugue in G minor BWV 542 at the Schnitger organ in Martinikerk (Groningen) and she speaks about Johann Sebastian Bach.
Jan Helman was still working on the instrument when he died in 1690, and it was left to Arp Schnitger - arguably the most famous organ builder of his day - to sort out the resultant problems. Schnitger needed three whole days to draw up a plan fur restoring the organ to working condition. This plan was submitted to the town council on 9 June 1691. Schnitger's assistants started work in July and the instrument was formally handed over in February 1692. That same month a new contract was drawn up with Schnitger for two large pedal towers that were to include a new 32' Prinzipal in addition to the existing pedal pipes. This commission, too, was energetically taken in hand and by December 1692 the enlarged instrument was finished. The cases for the new pedal towers were the work of the cabinet maker Allart Meijer, who often collaborated with Schnitger in Groningen. The Martinikerk now boasted a large Baroque organ in the north German style.
In 1728 a new organist was appointed in the person of Jacob Wilhelm Lustig. A native of Hamburg, he was to remain the Martinikerk's organist until 1796. And it was he who expressed the wish that the instrument should be restored and enlarged, a task entrusted to Arp Schnitger's son, Frans Caspar, in 1728. The work involved not only repairing and renovating the instrument but, above all, adding a new Rückpositiv, installing new slider-chests for the main manual and replacing parts of the Pedal. Frans Caspar died in March 1729 and the work was completed by his master journeyman Albertus Anthoni Hinsz. Hinsz was also responsible for repairs in 1740, when the opportunity was taken to add seven new stops to the Rückpositiv, space having already been left for them at the time of the rebuilding work of 1729-30. The result was a sizeable instrument of 47 stops.
In the course of the 19th century, the instrument was repeatedly repaired, rebuilt and enlarged. By 1854/5 the organ had 52 stops, but of these only 27 dated from the period before 1740. The instrument suffered appallingly at the hands of a whole series of builders during the first half of the 20th century, with the result that it was now felt to be more or less beyond rescue and scarcely worth regarding any longer as a valuable historic organ.
In 1971 the organ was removed while the church itself was restored and the question inevitably arose as to whether a restoration or reconstruction was still possible or meaningful. After detailed surveys a plan was drawn up that envisaged restoring the instrument to its 1740 state, while retaining a number of later changes, at least to the extent that these could be incorporated into the design in a sensible and harmonious way.
Many doubted whether this plan was feasible, but, acting in consultation with the organ expert Cornelius H. Edskes, the master organ builder Jürgen Ahrend succeeded in transforming this ruin back into an exceptional instrument. The work was carried out in two stages, with the Rückpositiv and Oberwerk being restored in 1976/7 after extensive preparatory work. Only when it had been established that the result was a success were the main manual and Pedal restored in 1983/4. By the time that the instrument was again playable in mid-1984, there was unanimous agreement that the Martinikerk organ had risen like a phoenix from its own ashes.
by Paul Peeters and translation Stewart Spencer
OVERVIEW
DISPOSITION
Rugpositief
Praestant 8'
Quintadena 16'
Bourdon 8'
Roerfluit 8'
Octaaf 4'
Speelfluit 4'
Gedektquint 3'
Nasard 3'
Octaaf 2'
Fluit 2'
Sesquialtera II
Mixtuur IV-VI
Cimbel III
Basson 16'
Schalmei 8'
Hobo 8'
Manuaal
Praestant 16'
Octaaf 8'
Salicet 8'
Quintadena 8'
Gedekt 8'
Octaaf 4'
Gedektfluit 4'
Octaaf 2'
Vlakfluit 2'
Tertiaan II
Mixtuur IV-VI
Scherp IV
Trompet 8'
Viola da Gamba 8'
Bovenwerk
Praestant I-III 8'
Holfluit 8'
Octaaf 4'
Nasard 3'
Sesquialtera II
Mixtuur IV-VI
Trompet 16'
Vox Humana 8'
Pedaal
Praestant 32'
Praestant 16'
Subbas 16'
Octaaf 8'
Gedekt 8'
Roerquint 6'
Octaaf 4'
Octaaf 2'
Nachthoorn 2'
Mixtuur IV
Bazuin 16'
Dulciaan 16'
Trompet 8'
Cornet 4'
Cornet 2'
Couplers: Manuaal + Rugpositief, Bovenwerk + Manuaal
2 tremulanten
Keyboards: C-c'''
Pedal: CD-d'
Pitch: a' = 465 Hz
Temperature: Variant of Neidhardt
Johann Sebastian Bach (1685-1750)
Fantasia in G major BWV 571
1. [Allegro]
2. Adagio
3. Allegro
Ton Koopman, organ Fantasia g-dur BWV571 Schnitger orgel Martinikerk
Nun komm, der Heiden Heiland" (BWV 659)J.S. Bach; Organist Pieter Pilon
8 Short Preludes and Fugues Prelude and Fugue in C major
Johann Sebastian Bach
Prelude and Fugue in do major BWV 553
Praeludium und Fuge c-dur BWV 553
1. Ton Koopman at the Garrels organ of the Grote Kerk (Maassluis)
Equal Temperament. Pitch: a'=440 Hz.
2. Ton Koopman at the Schnitger organ of the Martinikerk (Groningen)
Modified Neidhardt Temperament. Pitch: a'=466 Hz.
YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.
Groningen Martinikerk - Bach - BWV 659 Pieter Pilon Schnitger Organ
Bach 596 Koopman Schnitger organ Groningen
Bach 595 Koopman Schnitger organ Groningen
Bach 592 Koopman Schnitger organ Groningen
Bach 561 - Koopman - Schnitger Groningen
Bach 551 Koopman Schnitger organ Groningen
Praeludium BWV 548 - Schnitger in Groningen, M...
Praeludium BWV 544 - Schnitger in Groningen, M...
Praeludium BWV 543 Martinikerk Wolfgang Ruebsam
Bach 536 Koopman Schnitger Goningen
Martinikerk Krebs, Von Gott will ich nicht lassen.
MP3:
Ach bleib bei uns, Herr Jesu Christ"
Man: Rf8,Sf4 (left hand) Rp: P8,O4,Sesq,S8 (right hand) Ped: S16,O8
Praeludium
Man: P16,O8,O4,O2,M,Sc,T8 Ped: P16,S16,O8,Rq6,O4,O2,M,Baz16,D16
"Allein Gott in der Höh' sei Ehr'"
Great musicians such as Bach, Handel etc. wrote their music for the organ as an expression of their faith.
They express:
You are my God, and I will praise You; You are my God, I will exalt You. Psalms 118:28 NKJ
May you, as you listen to these magnificent instruments, in thought be transported to also glorify your maker.
Soli Deo Gloria
Georg Böhm (1661-1733)
Chorale Prelude "Aus tiefer Not schrei ich zu dir"
Chorale Prelude "Vater unser im Himmelreich"
Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen
Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"
Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen
Georg Böhm (1661-1733) Partita "Freu dich sehr, o meine Seele"
Wim van Beek at the Arp Schnitger organ of the Martinikerk in Groningen
Organ builder Jürgen Ahrend discusses his restoration of the Arp Schnitger pipe organ at the Martinikerk, Groningen, Netherlands. Musical improvisation by Sietze de Vries.
Celebrated performers like Marie-Claire Alain, Ton Koopman, Gustav Leonhardt, Michael Radulescu, Wim van Beek and Harald Vogel have played the organ in recent years and consider it to be one of the finest instruments in the world both because of its excellent playability (mechanics by Jürgen Ahrend) and its wonderfull sound, in the individual stops (some dating back to the 15th century) as well as in the majestic full organ.
Johann Ludwig Krebs: Von Gott will ich nicht lassen. Played by Liga Vilmane (Latvia)
The organ is the only instrument in the world that still possesses orginal 32-foot prestant pipes originally manufactured by the great Arp Schnitger in the years 1690/91.
HISTORY
The Martinikerk organ in Groningen can look back on a long and eventful history. The church itself acquired its present form in the early 16th century. The original three-aisled cruciform basilica dates from around 1220 and was enlarged in around 1425 with the addition of a high Gothic chancel. Some twenty-five years later the nave was rebuilt, resulting in the Gothic hall church that we know today. A Renaissance chapel was added next to the north tympanum at the beginning of the 16th century. Meanwhile, the tower had been struck by lightning in 1465 and collapsed. Rebuilding work on it was not completed until 1550. Ninety-six metres high, this Martinitoren is the pride of the town.
The Martinikerk's first organ dates from around 1450. This instrument was rebuilt in around 1482, probably by Johan ten Damme. Expert advice was provided by the famous humanist Rudolph Agricola, who was Groningen's town clerk at this time. It must have been a particularly fine organ as the present instrument still contains a number of pipes dating from 1482, attesting to their exceptional quality This Gothic organ was altered, enlarged and rebuilt in the Renaissance style in 1542 by an unknown builder. It was further rebuilt and enlarged by Anthoni Verbeeck in 1627/8, by Jan Helman in 1685-90, by Arp Schnitger in 1691/2, by Frans Caspar Schnitger and Albertus Anthoni Hinsz in 1729/30 and again by Hinsz in 1740.
Marie-Claire Alain plays extracts from Fantasy and Fugue in G minor BWV 542 at the Schnitger organ in Martinikerk (Groningen) and she speaks about Johann Sebastian Bach.
Jan Helman was still working on the instrument when he died in 1690, and it was left to Arp Schnitger - arguably the most famous organ builder of his day - to sort out the resultant problems. Schnitger needed three whole days to draw up a plan fur restoring the organ to working condition. This plan was submitted to the town council on 9 June 1691. Schnitger's assistants started work in July and the instrument was formally handed over in February 1692. That same month a new contract was drawn up with Schnitger for two large pedal towers that were to include a new 32' Prinzipal in addition to the existing pedal pipes. This commission, too, was energetically taken in hand and by December 1692 the enlarged instrument was finished. The cases for the new pedal towers were the work of the cabinet maker Allart Meijer, who often collaborated with Schnitger in Groningen. The Martinikerk now boasted a large Baroque organ in the north German style.
In 1728 a new organist was appointed in the person of Jacob Wilhelm Lustig. A native of Hamburg, he was to remain the Martinikerk's organist until 1796. And it was he who expressed the wish that the instrument should be restored and enlarged, a task entrusted to Arp Schnitger's son, Frans Caspar, in 1728. The work involved not only repairing and renovating the instrument but, above all, adding a new Rückpositiv, installing new slider-chests for the main manual and replacing parts of the Pedal. Frans Caspar died in March 1729 and the work was completed by his master journeyman Albertus Anthoni Hinsz. Hinsz was also responsible for repairs in 1740, when the opportunity was taken to add seven new stops to the Rückpositiv, space having already been left for them at the time of the rebuilding work of 1729-30. The result was a sizeable instrument of 47 stops.
In the course of the 19th century, the instrument was repeatedly repaired, rebuilt and enlarged. By 1854/5 the organ had 52 stops, but of these only 27 dated from the period before 1740. The instrument suffered appallingly at the hands of a whole series of builders during the first half of the 20th century, with the result that it was now felt to be more or less beyond rescue and scarcely worth regarding any longer as a valuable historic organ.
In 1971 the organ was removed while the church itself was restored and the question inevitably arose as to whether a restoration or reconstruction was still possible or meaningful. After detailed surveys a plan was drawn up that envisaged restoring the instrument to its 1740 state, while retaining a number of later changes, at least to the extent that these could be incorporated into the design in a sensible and harmonious way.
Many doubted whether this plan was feasible, but, acting in consultation with the organ expert Cornelius H. Edskes, the master organ builder Jürgen Ahrend succeeded in transforming this ruin back into an exceptional instrument. The work was carried out in two stages, with the Rückpositiv and Oberwerk being restored in 1976/7 after extensive preparatory work. Only when it had been established that the result was a success were the main manual and Pedal restored in 1983/4. By the time that the instrument was again playable in mid-1984, there was unanimous agreement that the Martinikerk organ had risen like a phoenix from its own ashes.
by Paul Peeters and translation Stewart Spencer
OVERVIEW
| 1450 | Building of a great organ |
| 1482 | Rebuilding of the existing Gothic organ, presumably by Johan then Damme (with Rudolf Agricola as his adviser) |
| 1542 | Alteration in Renaissance style |
| 1564 | Enlargement by Andreas de Mare |
| 1627-28 | Enlargement by Anthoni and Adam Verbeeck |
| 1685-90 | Alteration by Jan Helman |
| 1691-92 | Rebuilding and enlargement (32'-pedal towers) by Arp Schnitger |
| 1728-30 | Alteration and enlargement (new Rugpositief) by Frans Caspar Schnitger and Albertus Anthonie Hinsz |
| 1740 | Large-scale repairs after subsidence, and enlargement with seven new stops by Hinsz |
| 1808-1912 | Numerous modifications by Lohman, van Oeckelen and Doornbos |
| 1938-39 | Alteration (electrical action and re-voicing) by J. de Kof |
| 1971 | Disassembly because of restoration |
| 1976-84 | Restoration, partial reconstruction by Jürgen Ahrend from Leer/Loga (based on the 1740 situation). Adviser was Cor H. Edskes. |
DISPOSITION
Rugpositief
Praestant 8'
Quintadena 16'
Bourdon 8'
Roerfluit 8'
Octaaf 4'
Speelfluit 4'
Gedektquint 3'
Nasard 3'
Octaaf 2'
Fluit 2'
Sesquialtera II
Mixtuur IV-VI
Cimbel III
Basson 16'
Schalmei 8'
Hobo 8'
Manuaal
Praestant 16'
Octaaf 8'
Salicet 8'
Quintadena 8'
Gedekt 8'
Octaaf 4'
Gedektfluit 4'
Octaaf 2'
Vlakfluit 2'
Tertiaan II
Mixtuur IV-VI
Scherp IV
Trompet 8'
Viola da Gamba 8'
Bovenwerk
Praestant I-III 8'
Holfluit 8'
Octaaf 4'
Nasard 3'
Sesquialtera II
Mixtuur IV-VI
Trompet 16'
Vox Humana 8'
Pedaal
Praestant 32'
Praestant 16'
Subbas 16'
Octaaf 8'
Gedekt 8'
Roerquint 6'
Octaaf 4'
Octaaf 2'
Nachthoorn 2'
Mixtuur IV
Bazuin 16'
Dulciaan 16'
Trompet 8'
Cornet 4'
Cornet 2'
Couplers: Manuaal + Rugpositief, Bovenwerk + Manuaal
2 tremulanten
Keyboards: C-c'''
Pedal: CD-d'
Pitch: a' = 465 Hz
Temperature: Variant of Neidhardt
Johann Sebastian Bach (1685-1750)
Fantasia in G major BWV 571
1. [Allegro]
2. Adagio
3. Allegro
Ton Koopman, organ Fantasia g-dur BWV571 Schnitger orgel Martinikerk
Nun komm, der Heiden Heiland" (BWV 659)J.S. Bach; Organist Pieter Pilon
8 Short Preludes and Fugues Prelude and Fugue in C major
Johann Sebastian Bach
Prelude and Fugue in do major BWV 553
Praeludium und Fuge c-dur BWV 553
1. Ton Koopman at the Garrels organ of the Grote Kerk (Maassluis)
Equal Temperament. Pitch: a'=440 Hz.
2. Ton Koopman at the Schnitger organ of the Martinikerk (Groningen)
Modified Neidhardt Temperament. Pitch: a'=466 Hz.
YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.
Groningen Martinikerk - Bach - BWV 659 Pieter Pilon Schnitger Organ
Bach 596 Koopman Schnitger organ Groningen
Bach 595 Koopman Schnitger organ Groningen
Bach 592 Koopman Schnitger organ Groningen
Bach 561 - Koopman - Schnitger Groningen
Bach 551 Koopman Schnitger organ Groningen
Praeludium BWV 548 - Schnitger in Groningen, M...
Praeludium BWV 544 - Schnitger in Groningen, M...
Praeludium BWV 543 Martinikerk Wolfgang Ruebsam
Bach 536 Koopman Schnitger Goningen
Martinikerk Krebs, Von Gott will ich nicht lassen.
MP3:
Ach bleib bei uns, Herr Jesu Christ"
Man: Rf8,Sf4 (left hand) Rp: P8,O4,Sesq,S8 (right hand) Ped: S16,O8
Praeludium
Man: P16,O8,O4,O2,M,Sc,T8 Ped: P16,S16,O8,Rq6,O4,O2,M,Baz16,D16
"Allein Gott in der Höh' sei Ehr'"
Johann Gottfried Silbermann 1734 organ in Ponitz
To contact us Click HERE
Already in 1734 the final completion of the church was made prior to Gottfried Silbermann, the contract for which Ponitz church to build an organ. In September of that year signed contract are already indications about the future organ contain accurate. This certificate was signed by Carl August from the Planitz, Dorothea of Schönburg born of Zehmen and Christiana Sibylla of the Planitz born of Zehmen than the customer as well as by Gottfried Silbermann. The original of this document is now untraceable. The detailed content of the contract, however, is evident from a contemporary copy. Only in 1996 discovered the handwritten copy of contract at an auction in London. Today this document is located in the Saxon State Library, one copy exists in the Ponitz parish archive. With the discovery of this copy was the first time clearly that the organ was enlarged with the treaty of 1737.
Johann Sebastian Bach (1685-1750)
Prelude and Fugue in E minore BWV 548
1. Prelude
Bernard Foccroulle at the Johann Gottfried Silbermann organ in Ponitz
DISPOSITION OF THE ORGAN
Hauptwerk
Bordun 16 Fuß
Principal 8 Fuß
Rohr-Flöthe 8 Fuß
Viol di Gamba 8 Fuß
Octava 4 Fuß
Spitz-Flöthe 4 Fuß
Quinta 3 Fuß
Octava 2 Fuß
Tertia 1 3/5 Fuß
Mixtur 4fach
Cornett 3fach
Oberwerk
Principal 8 Fuß
Gedackt 8 Fuß
Quintadehn 8 Fuß
Octava 4 Fuß
Rohr-Flöthe 4 Fuß
Nassat 3 Fuß
Octava 2 Fuß
Gemßhorn 2 Fuß
Sesquialtera 1 3/5 Fuß
Quinta 1 1/2 Fuß
Suffloeth 1 Fuß
Cymbeln 2fach
Vox humana 8 Fuß
Pedal
Principal-Baß 16 Fuß
Posaunen-Baß 16 Fuß
Octav-Baß 8 Fuß
Calcantenglocke
Nebenzüge
Tremulant im Hauptwerk
Schwebung im Oberwerk
Pedalkoppel (seit 1884)
Manualschiebekoppel
Already in 1734 the final completion of the church was made prior to Gottfried Silbermann, the contract for which Ponitz church to build an organ. In September of that year signed contract are already indications about the future organ contain accurate. This certificate was signed by Carl August from the Planitz, Dorothea of Schönburg born of Zehmen and Christiana Sibylla of the Planitz born of Zehmen than the customer as well as by Gottfried Silbermann. The original of this document is now untraceable. The detailed content of the contract, however, is evident from a contemporary copy. Only in 1996 discovered the handwritten copy of contract at an auction in London. Today this document is located in the Saxon State Library, one copy exists in the Ponitz parish archive. With the discovery of this copy was the first time clearly that the organ was enlarged with the treaty of 1737.
Johann Sebastian Bach (1685-1750)
Prelude and Fugue in E minore BWV 548
1. Prelude
Bernard Foccroulle at the Johann Gottfried Silbermann organ in Ponitz
DISPOSITION OF THE ORGAN
Hauptwerk
Bordun 16 Fuß
Principal 8 Fuß
Rohr-Flöthe 8 Fuß
Viol di Gamba 8 Fuß
Octava 4 Fuß
Spitz-Flöthe 4 Fuß
Quinta 3 Fuß
Octava 2 Fuß
Tertia 1 3/5 Fuß
Mixtur 4fach
Cornett 3fach
Oberwerk
Principal 8 Fuß
Gedackt 8 Fuß
Quintadehn 8 Fuß
Octava 4 Fuß
Rohr-Flöthe 4 Fuß
Nassat 3 Fuß
Octava 2 Fuß
Gemßhorn 2 Fuß
Sesquialtera 1 3/5 Fuß
Quinta 1 1/2 Fuß
Suffloeth 1 Fuß
Cymbeln 2fach
Vox humana 8 Fuß
Pedal
Principal-Baß 16 Fuß
Posaunen-Baß 16 Fuß
Octav-Baß 8 Fuß
Calcantenglocke
Nebenzüge
Tremulant im Hauptwerk
Schwebung im Oberwerk
Pedalkoppel (seit 1884)
Manualschiebekoppel
5 Temmuz 2012 Perşembe
Introduction to Proporzione Divina
To contact us Click HERE
Proporzione Divina features commentary on art and music by architect and author Bevin Chu.
Proporzione Divina is Italian for "Divine Proportion." The Divine Proportion is also known as the golden ratio, the golden section (Latin: sectio aurea), golden mean, golden number, divine section (Latin: sectio divina), or golden proportion, and is represented by the Greek letter phi (φ).
The Golden Section
From Wikipedia, the free encyclopedia
The golden section is a line segment sectioned into two according to the golden ratio. The total length a+b is to the longer segment a as a is to the shorter segment b.
In mathematics and the arts, two quantities are in the golden ratio if the ratio between the sum of those quantities and the larger one is the same as the ratio between the larger one and the smaller. The golden ratio is approximately 1.6180339887.
φ = (square root of 5 – 1)/2 = approximately 1.6
The Golden Rectangle
Many artists and architects have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing.
The Fibonacci Series
The irrational numbers of the golden section closely correspond to the whole numbers of the Fibonacci series, in which each number is the sum of the two preceding numbers.
The numbers of the Fibonacci series are:
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987 ... ad infinitum
This makes the Fibonacci series highly useful for architects and designers who wish to make their buildings and designs approximate the golden section, but must as a practical matter use whole number units.
Divine Immanence
The Golden Rectangle shows up in the most unexpected places.
For example, it shows up in the 16:10 aspect ratio of the newest, most advanced LCD monitors, which provide more comfortable viewing than older, now obsolescent LCD monitors with 4:3 aspect ratios.
The newer 16:10 aspect ratio is more ergonomic because it more closely matches the human being's natural field of view, formed by the two overlapping fields of view of two side by side human eyes.
Vesica Piscis: Latin for "bladder of the fish," two circles of the same radius whose centers lie on each others' circumference, aspect ratio of 3:2 corresponds to the fifth and fourth numbers in the Fibonacci series
The older 4:3 aspect ratio, by contrast, is noticeably less ergonomic because it chops off the left and right margins of that natural field of view.
ViewSonic Home Page (Traditional Chinese): "ViewSonic VG2230wm 22 inch multimedia liquid-crystal display, 16:10 golden ratio display ... high resolution golden ratio display 1680x1050"
The 16:10 aspect ratio of the newest LCD monitors reduces to 8:5, the seventh and sixth numbers in the Fibonacci series.
Proporzione Divina features commentary on art and music by architect and author Bevin Chu.
Proporzione Divina is Italian for "Divine Proportion." The Divine Proportion is also known as the golden ratio, the golden section (Latin: sectio aurea), golden mean, golden number, divine section (Latin: sectio divina), or golden proportion, and is represented by the Greek letter phi (φ).
The Golden Section
From Wikipedia, the free encyclopedia
The golden section is a line segment sectioned into two according to the golden ratio. The total length a+b is to the longer segment a as a is to the shorter segment b.
In mathematics and the arts, two quantities are in the golden ratio if the ratio between the sum of those quantities and the larger one is the same as the ratio between the larger one and the smaller. The golden ratio is approximately 1.6180339887.
φ = (square root of 5 – 1)/2 = approximately 1.6
The Golden Rectangle
Many artists and architects have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing.
The Fibonacci Series
The irrational numbers of the golden section closely correspond to the whole numbers of the Fibonacci series, in which each number is the sum of the two preceding numbers.
The numbers of the Fibonacci series are:
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987 ... ad infinitum
This makes the Fibonacci series highly useful for architects and designers who wish to make their buildings and designs approximate the golden section, but must as a practical matter use whole number units.
Divine Immanence
The Golden Rectangle shows up in the most unexpected places.
For example, it shows up in the 16:10 aspect ratio of the newest, most advanced LCD monitors, which provide more comfortable viewing than older, now obsolescent LCD monitors with 4:3 aspect ratios.
The newer 16:10 aspect ratio is more ergonomic because it more closely matches the human being's natural field of view, formed by the two overlapping fields of view of two side by side human eyes.
Vesica Piscis: Latin for "bladder of the fish," two circles of the same radius whose centers lie on each others' circumference, aspect ratio of 3:2 corresponds to the fifth and fourth numbers in the Fibonacci series
The older 4:3 aspect ratio, by contrast, is noticeably less ergonomic because it chops off the left and right margins of that natural field of view.
ViewSonic Home Page (Traditional Chinese): "ViewSonic VG2230wm 22 inch multimedia liquid-crystal display, 16:10 golden ratio display ... high resolution golden ratio display 1680x1050"
The 16:10 aspect ratio of the newest LCD monitors reduces to 8:5, the seventh and sixth numbers in the Fibonacci series.
The Well Tempered Keyboard
To contact us Click HERE
The Well Tempered Keyboard
Bevin Chu
September 18, 2007
The Well Tempered Keyboard
You just bought yourself a midi keyboard controller, as a cheap alternative to an expensive electric piano, or an even more expensive regular piano.
Not a synthesizer. A midi keyboard controller. No sound. No speakers.
You didn't want either built-in sound or built-in speakers because you wanted to spend money only on the keyboard. Not on dedicated electronics and speakers good for nothing else. You wanted your PC to generate the audio signal, and your speakers to transform those audio signals into piano sounds.
You wanted semi-weighted key action that emulated, but did not necessarily duplicate piano key action.
Semi-weighted Midi Keyboard Controller vs. Fully-weighted Electric Piano
Q: Will keyboard playing skills spoil the ability to play the piano, because of the difference in touch?
A: It is a myth that beginners MUST start with the piano in order to correctly develop a piano playing apparatus. This myth originated from the elitism and conservatism of modern piano education that focused only on raising of a few concert performers. In reality, playing on any other musical instrument, including the piano keyboard, can only improve the piano performance of your child.
More over, we recommend that children start learning the piano with the piano keyboard. The regular piano is very physically challenging for beginners, because it requires physical strength along with advanced coordination and perfect orientation on the piano keys. The majority of problems with piano techniques start with the lack of confidence in beginners. When the student has built his eye-hand-fingers coordination by playing on the piano keyboard, the task of mastering the "hard touch" of the real piano is much easier to handle. Freedom and flexibility of the apparatus appear gradually with the confidence of the student.
Being a 3-year-old child, Mozart started with the harpsichord (with the touch of a modern keyboard). It didn't spoil his apparatus at all!
We recommend a keyboard with at least 61 keys. Very soon you will find that a keyboard with less than 61 keys is just a toy, and you will be able to play only simplest songs.
- Hellene Hiner, Russian American Piano Instructor
Novation ReMOTE LE 61 - 5-octave Light Edition USB MIDI controller. Unsurpassed MIDI controlling technology is now available in its most compact format to date. With its funky Touchpad and cool 4-way joystick, the lightweight ReMOTE LE is the only choice for the musician on a budget wanting to trigger samples, lay down basslines or control a sequencer with true style.
Review of Novation ReMOTE LE
The ReMOTE LE is undoubtedly a cut above most portable keyboards we’ve seen. Its plastic casing feels durable and the weighted keys are good to play. The likes of Edirol’s PCR-M1 and M-Audio’s 02 are slightly more portable, but thanks to an above average feature set and impressive ease of use, the ReMOTE LE shines. Novation understand the needs of today’s computer musicians, and this understanding is reflected in their well-designed range of keyboards. If the SL isn’t for you, there’s a good chance that the LE will be. A lightweight SL it may be, but the ReMOTE LE is still one of the finest MIDI keyboards in its class. You’ll struggle to find better at this price. Verdict – 8/10
- Computer Music – Summer 06
Major Sticker Shock!
The salesman at the musical instrument store tried to sell you an electric piano.
They cost three times as much as your midi keyboard controller. Over one grand, instead of a few hundred.
Major sticker shock!
The salesman at the musical instrument store tried to sell you one of the well known commercial VST host, MIDI recorder/sequencer and audio recorder software packages.
They cost twice as much as your midi keyboard controller.
Major sticker shock!
Worst of all, they are far more powerful, hence far more complicated, than anything you are ever likely to need. They force you to waste time learning to use unfamiliar software before letting you play a single note of music.
The salesman at the musical instrument store tried to sell you one of the well known commercial piano plug-ins.
They cost as much as your midi keyboard controller.
Major sticker shock!
Your sticker shock. His bottom line.
So What Do You Do?
So what do you do?
Well, if you're like me, you go to websites such as Tobybear Productions, ASIO4ALL, Don't Crack Software, and KVR Audio.
You download the following VST hosts and VSTi plugins. All of these are freeware, except Tobybear Minihost, which is donationware.
Begin by installing Tobybear MiniHost.
Tobybear MiniHost
MiniHost is a powerful and full-fledged ASIO host that loads a VST plugin (instrument or effect) and processes it in realtime. MiniHost has been voted by the members of the KVR audio community as the best free host of the year 2004! Send MIDI data to VST plugins from external MIDI inputs, a resizable virtual MIDI keyboard, the computer keyboard or MIDI files, process live ASIO audio input or a WAV file, record audio output to WAV (16 and 32 bit), support for VST MIDI plugins that generate MIDI data. Donating $20 or more will make the daily donationware remainder disappear and put your name in the about box
http://www.tobybear.de/p_minihost.html
http://www.dontcrack.com/freeware/downloads.php/id/4228/software/MiniHost/
http://www.kvraudio.com/get.php?mode=results&st=f&q=minihost
Next, install ASIO4ALL.
ASIO4ALL - Universal ASIO Driver For WDM Audio
What's the difference between ASIO and DirectSound audio drivers? ASIO is a standard developed by Steinberg and designed specifically real-time audio processing. DirectSound is a Microsoft audio technology designed primarily for games. In general ASIO is the preferred type of driver for use with Cantabile. DirectSound support is provided for cases where no ASIO driver is installed or available.
http://www.asio4all.com/
ASIO4ALL seems to be most beneficial for AC97 based sound cards. And it does work well with SoundBlaster Live cards. It gives people with basic systems a boost. If you don't have a proprietary ASIO driver available, it can help a lot.
- RobertB
Do not neglect this! The latency using DirectSound is simply unacceptable. ASIO bypasses Windows' slower audio engine, offering much lower latency (audible sound delays).
See:
http://en.wikipedia.org/wiki/Virtual_Studio_Technology
Finally, install these VSTi piano modules.
4Front Piano Module
A small and versatile piano module with unique sound. This piano module is neither a sample player, nor synthesized. It's a hybrid technology that combines both methods. This results in greatly reduced module size and light CPU usage. Unlike many other piano modules (like those gigabyte pianos), this module will never overload your CPU. It will never stick notes, and never break the sound or click during live performances.
http://www.4front-tech.com/proaudio-download.html
http://www.dontcrack.com/freeware/downloads.php/id/2396/software/Piano-Module/
http://www.kvraudio.com/get/597.html
mda Piano
The mda Piano VSTi is modelled around 31 carefully sampled and mastered Piano samples. Its Width Control not only controls panning of notes across the keyboard but at high settings adds a psychoacoustic widening effect adding a touch of room ambiance and spaciousness to the sound. The polyphony is up to 32 voices.
http://www.mda-vst.com/
http://www.dontcrack.com/freeware/downloads.php/id/1027/software/Piano/
http://www.kvraudio.com/get/123.html
Woodstock tickling the ivories, as Snoopy listens
Well, that about does it.
You now have a compact, portable, realistic sounding piano. All for the price of a cheap midi keyboard controller.
Now start playing.
The Well Tempered Keyboard
Bevin Chu
September 18, 2007
The Well Tempered Keyboard
You just bought yourself a midi keyboard controller, as a cheap alternative to an expensive electric piano, or an even more expensive regular piano.
Not a synthesizer. A midi keyboard controller. No sound. No speakers.
You didn't want either built-in sound or built-in speakers because you wanted to spend money only on the keyboard. Not on dedicated electronics and speakers good for nothing else. You wanted your PC to generate the audio signal, and your speakers to transform those audio signals into piano sounds.
You wanted semi-weighted key action that emulated, but did not necessarily duplicate piano key action.
Semi-weighted Midi Keyboard Controller vs. Fully-weighted Electric Piano
Q: Will keyboard playing skills spoil the ability to play the piano, because of the difference in touch?
A: It is a myth that beginners MUST start with the piano in order to correctly develop a piano playing apparatus. This myth originated from the elitism and conservatism of modern piano education that focused only on raising of a few concert performers. In reality, playing on any other musical instrument, including the piano keyboard, can only improve the piano performance of your child.
More over, we recommend that children start learning the piano with the piano keyboard. The regular piano is very physically challenging for beginners, because it requires physical strength along with advanced coordination and perfect orientation on the piano keys. The majority of problems with piano techniques start with the lack of confidence in beginners. When the student has built his eye-hand-fingers coordination by playing on the piano keyboard, the task of mastering the "hard touch" of the real piano is much easier to handle. Freedom and flexibility of the apparatus appear gradually with the confidence of the student.
Being a 3-year-old child, Mozart started with the harpsichord (with the touch of a modern keyboard). It didn't spoil his apparatus at all!
We recommend a keyboard with at least 61 keys. Very soon you will find that a keyboard with less than 61 keys is just a toy, and you will be able to play only simplest songs.
- Hellene Hiner, Russian American Piano Instructor
Novation ReMOTE LE 61 - 5-octave Light Edition USB MIDI controller. Unsurpassed MIDI controlling technology is now available in its most compact format to date. With its funky Touchpad and cool 4-way joystick, the lightweight ReMOTE LE is the only choice for the musician on a budget wanting to trigger samples, lay down basslines or control a sequencer with true style.
Review of Novation ReMOTE LE
The ReMOTE LE is undoubtedly a cut above most portable keyboards we’ve seen. Its plastic casing feels durable and the weighted keys are good to play. The likes of Edirol’s PCR-M1 and M-Audio’s 02 are slightly more portable, but thanks to an above average feature set and impressive ease of use, the ReMOTE LE shines. Novation understand the needs of today’s computer musicians, and this understanding is reflected in their well-designed range of keyboards. If the SL isn’t for you, there’s a good chance that the LE will be. A lightweight SL it may be, but the ReMOTE LE is still one of the finest MIDI keyboards in its class. You’ll struggle to find better at this price. Verdict – 8/10
- Computer Music – Summer 06
Major Sticker Shock!
The salesman at the musical instrument store tried to sell you an electric piano.
They cost three times as much as your midi keyboard controller. Over one grand, instead of a few hundred.
Major sticker shock!
The salesman at the musical instrument store tried to sell you one of the well known commercial VST host, MIDI recorder/sequencer and audio recorder software packages.
They cost twice as much as your midi keyboard controller.
Major sticker shock!
Worst of all, they are far more powerful, hence far more complicated, than anything you are ever likely to need. They force you to waste time learning to use unfamiliar software before letting you play a single note of music.
The salesman at the musical instrument store tried to sell you one of the well known commercial piano plug-ins.
They cost as much as your midi keyboard controller.
Major sticker shock!
Your sticker shock. His bottom line.
So What Do You Do?
So what do you do?
Well, if you're like me, you go to websites such as Tobybear Productions, ASIO4ALL, Don't Crack Software, and KVR Audio.
You download the following VST hosts and VSTi plugins. All of these are freeware, except Tobybear Minihost, which is donationware.
Begin by installing Tobybear MiniHost.
Tobybear MiniHost
MiniHost is a powerful and full-fledged ASIO host that loads a VST plugin (instrument or effect) and processes it in realtime. MiniHost has been voted by the members of the KVR audio community as the best free host of the year 2004! Send MIDI data to VST plugins from external MIDI inputs, a resizable virtual MIDI keyboard, the computer keyboard or MIDI files, process live ASIO audio input or a WAV file, record audio output to WAV (16 and 32 bit), support for VST MIDI plugins that generate MIDI data. Donating $20 or more will make the daily donationware remainder disappear and put your name in the about box
http://www.tobybear.de/p_minihost.html
http://www.dontcrack.com/freeware/downloads.php/id/4228/software/MiniHost/
http://www.kvraudio.com/get.php?mode=results&st=f&q=minihost
Next, install ASIO4ALL.
ASIO4ALL - Universal ASIO Driver For WDM Audio
What's the difference between ASIO and DirectSound audio drivers? ASIO is a standard developed by Steinberg and designed specifically real-time audio processing. DirectSound is a Microsoft audio technology designed primarily for games. In general ASIO is the preferred type of driver for use with Cantabile. DirectSound support is provided for cases where no ASIO driver is installed or available.
http://www.asio4all.com/
ASIO4ALL seems to be most beneficial for AC97 based sound cards. And it does work well with SoundBlaster Live cards. It gives people with basic systems a boost. If you don't have a proprietary ASIO driver available, it can help a lot.
- RobertB
Do not neglect this! The latency using DirectSound is simply unacceptable. ASIO bypasses Windows' slower audio engine, offering much lower latency (audible sound delays).
See:
http://en.wikipedia.org/wiki/Virtual_Studio_Technology
Finally, install these VSTi piano modules.
4Front Piano Module
A small and versatile piano module with unique sound. This piano module is neither a sample player, nor synthesized. It's a hybrid technology that combines both methods. This results in greatly reduced module size and light CPU usage. Unlike many other piano modules (like those gigabyte pianos), this module will never overload your CPU. It will never stick notes, and never break the sound or click during live performances.
http://www.4front-tech.com/proaudio-download.html
http://www.dontcrack.com/freeware/downloads.php/id/2396/software/Piano-Module/
http://www.kvraudio.com/get/597.html
mda Piano
The mda Piano VSTi is modelled around 31 carefully sampled and mastered Piano samples. Its Width Control not only controls panning of notes across the keyboard but at high settings adds a psychoacoustic widening effect adding a touch of room ambiance and spaciousness to the sound. The polyphony is up to 32 voices.
http://www.mda-vst.com/
http://www.dontcrack.com/freeware/downloads.php/id/1027/software/Piano/
http://www.kvraudio.com/get/123.html
Woodstock tickling the ivories, as Snoopy listens
Well, that about does it.
You now have a compact, portable, realistic sounding piano. All for the price of a cheap midi keyboard controller.
Now start playing.
The amazing Golden Ratio
To contact us Click HERE
The amazing Golden Ratio
Assem Deif
Al-Ahram Weekly
27 September - 3 October 2007
Issue No. 864
Heritage
Artists reckon that the "Golden Ratio", also called the "Golden Section Phi" and nature's most astonishing number, is the ratio that controls the proportions of all beautiful objects, writes Assem Deif*
Historians trace the Golden Ratio back to Euclid, yet even before him it was governing the dimensions of monuments in ancient Egypt. The most pronounced of these is the Great Pyramid. The Great Pyramid is not the only structure from ancient Egypt that complies with constants like Pi or Phi; the Egyptians used the Golden Ratio in many ways both in the architecture of their temples and in their drawings. So whereas, the discovery of the "golden rule" was generally credited to the Greeks, the findings of such Egyptologists as De Lubicz and Fliders Petrie produced irrefutable proof that the Egyptians had a mathematical understanding of these constants, the ratios, not the symbol, 1000 years earlier.
There was much cross-culture between the Egyptian and Greek civilisations during the Hellenistic era, particularly in Alexandria where Egyptian and Greek scientists studied together at the Mouseion. Among them was Euclid. Historians call him Euclid of Alexandria without precluding the possibility he might have been Egyptian. It was in Alexandria that Euclid wrote The Elements.
Greek scholars were visiting Egypt even before the Mouseion was founded, including Thales, Socrates, Plato and Aristotle, and Pythagoras, who spent 22 years in Egypt and announced his theory only after leaving. Egyptians were aware of the triangle 3:4:5 which Pythagoras himself called the "Holy Triangle". Eight pyramids from the fourth and fifth dynasties have their inner triangle conforming to these ratios.
See:
http://weekly.ahram.org.eg/2007/864/heritage.htm
Giza Pyramids
leaf arrangements around a stem and plant branching in a fibonacci formation;
golden spiral
pascal triangle; panel of Khesi-Re
The amazing Golden Ratio
Assem Deif
Al-Ahram Weekly
27 September - 3 October 2007
Issue No. 864
Heritage
Artists reckon that the "Golden Ratio", also called the "Golden Section Phi" and nature's most astonishing number, is the ratio that controls the proportions of all beautiful objects, writes Assem Deif*
Historians trace the Golden Ratio back to Euclid, yet even before him it was governing the dimensions of monuments in ancient Egypt. The most pronounced of these is the Great Pyramid. The Great Pyramid is not the only structure from ancient Egypt that complies with constants like Pi or Phi; the Egyptians used the Golden Ratio in many ways both in the architecture of their temples and in their drawings. So whereas, the discovery of the "golden rule" was generally credited to the Greeks, the findings of such Egyptologists as De Lubicz and Fliders Petrie produced irrefutable proof that the Egyptians had a mathematical understanding of these constants, the ratios, not the symbol, 1000 years earlier.
There was much cross-culture between the Egyptian and Greek civilisations during the Hellenistic era, particularly in Alexandria where Egyptian and Greek scientists studied together at the Mouseion. Among them was Euclid. Historians call him Euclid of Alexandria without precluding the possibility he might have been Egyptian. It was in Alexandria that Euclid wrote The Elements.
Greek scholars were visiting Egypt even before the Mouseion was founded, including Thales, Socrates, Plato and Aristotle, and Pythagoras, who spent 22 years in Egypt and announced his theory only after leaving. Egyptians were aware of the triangle 3:4:5 which Pythagoras himself called the "Holy Triangle". Eight pyramids from the fourth and fifth dynasties have their inner triangle conforming to these ratios.
See:
http://weekly.ahram.org.eg/2007/864/heritage.htm
Giza Pyramids
leaf arrangements around a stem and plant branching in a fibonacci formation;
golden spiral
pascal triangle; panel of Khesi-Re
Giant CT 102 Urban Commuter Bicycle
To contact us Click HERE
Giant CT 102 Urban Commuter Bike
Bevin Chu
May 24, 2008
�安特 CT 102 城市通勤車 / Giant CT 102 Urban Commuter Bike, 2008 Model
Technical Specifications :
http://www.giant-bicycles.com/zh-TW/bikes/lifestyle/2224/31946/
My new bicycle. I just bought it today. A Plain Jane urban commuter bike. Nothing fancy, but solidly built by Giant, Taiwan's premier bicycle manufacturer. Carbon steel frame. 18 speed Shimano derailleurs. Shimano brakes.
This is not a high performance bike. High performance bikes don't come with full fenders, front brackets for mounting shopping baskets, rear luggage racks, and kick stands.
Price? Under $4000NT. About US$130.
When I was living in LA during the 1980s I had a Pinarello racing bike. Italian import. Double-butted aluminum frame. 10 speed Campagnolo derailleurs. Campagnolo brakes. Sew up tires. Total weight 22 lbs. I could hold it up with one finger on one hand.
Price? US$800 in 1980 dollars. Money well spent. No regrets. It was what I wanted. It was what I got.
But that was then, this is now.
Now all I want is a dependable urban commuter bike. Something to get me to the office for work. Something to get me to the supermarket for a bottle of orange juice. Something that can withstand the punishment dished out by the badly paved roads here on Taiwan.
I went online to get a feeling for what was available at what price. Given my modest requirements, I decided this particular make and model was the one to get.
Could I have afforded a fancier bike?
Of course. But I didn't want a fancier bike. I would be too nervous leaving a fancier bike out on the sidewalk. Anything fancier would be far too likely to get stolen. It simply wouldn't be worth the aggravation.
In fact, I considered getting an even cheaper bike for just that reason.
The "big box" discount stores on Taiwan, such as Carrefours, Geant, and RT Mart, sell no name bikes for under $2000NT. About US$65. I looked them over. Let me tell you, when you go from $4000NT to $2000NT, the quality takes a big hit.
An even more serious problem with these $2000NT no name, discount store bikes, is that the frames are too small. I'm 6'-2" (187cm), and these small framed bikes simply won't allow me to position myself on the seat properly.
So in the end I settled for an entry level name brand bike by Giant.
Some friends suggested a folding bike, something I could take indoors with me so it wouldn't be stolen.
But given the size of the potholes on Taiwan, I really feel more confident riding a bike with large diameter, standard sized wheels, rather than the tiny wheels found on folding bikes.
With the tiny wheels, one gets the queasy feeling the front wheel could drop into a pothole. The bike would then stop dead, and one would go flying over the handlebars.
Giant CT 102 for 2010
Same price, same specs, different paint job
Giant CT 102 Urban Commuter Bike
Bevin Chu
May 24, 2008
�安特 CT 102 城市通勤車 / Giant CT 102 Urban Commuter Bike, 2008 Model
Technical Specifications :
http://www.giant-bicycles.com/zh-TW/bikes/lifestyle/2224/31946/
My new bicycle. I just bought it today. A Plain Jane urban commuter bike. Nothing fancy, but solidly built by Giant, Taiwan's premier bicycle manufacturer. Carbon steel frame. 18 speed Shimano derailleurs. Shimano brakes.
This is not a high performance bike. High performance bikes don't come with full fenders, front brackets for mounting shopping baskets, rear luggage racks, and kick stands.
Price? Under $4000NT. About US$130.
When I was living in LA during the 1980s I had a Pinarello racing bike. Italian import. Double-butted aluminum frame. 10 speed Campagnolo derailleurs. Campagnolo brakes. Sew up tires. Total weight 22 lbs. I could hold it up with one finger on one hand.
Price? US$800 in 1980 dollars. Money well spent. No regrets. It was what I wanted. It was what I got.
But that was then, this is now.
Now all I want is a dependable urban commuter bike. Something to get me to the office for work. Something to get me to the supermarket for a bottle of orange juice. Something that can withstand the punishment dished out by the badly paved roads here on Taiwan.
I went online to get a feeling for what was available at what price. Given my modest requirements, I decided this particular make and model was the one to get.
Could I have afforded a fancier bike?
Of course. But I didn't want a fancier bike. I would be too nervous leaving a fancier bike out on the sidewalk. Anything fancier would be far too likely to get stolen. It simply wouldn't be worth the aggravation.
In fact, I considered getting an even cheaper bike for just that reason.
The "big box" discount stores on Taiwan, such as Carrefours, Geant, and RT Mart, sell no name bikes for under $2000NT. About US$65. I looked them over. Let me tell you, when you go from $4000NT to $2000NT, the quality takes a big hit.
An even more serious problem with these $2000NT no name, discount store bikes, is that the frames are too small. I'm 6'-2" (187cm), and these small framed bikes simply won't allow me to position myself on the seat properly.
So in the end I settled for an entry level name brand bike by Giant.
Some friends suggested a folding bike, something I could take indoors with me so it wouldn't be stolen.
But given the size of the potholes on Taiwan, I really feel more confident riding a bike with large diameter, standard sized wheels, rather than the tiny wheels found on folding bikes.
With the tiny wheels, one gets the queasy feeling the front wheel could drop into a pothole. The bike would then stop dead, and one would go flying over the handlebars.
Giant CT 102 for 2010
Same price, same specs, different paint job
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