There's a pulldown pedal, probably playing the Werk. But it's really not that unusual to find small German organs of this period and even later without pedal stops.@@HenrikBergpianorganist
One of my absolute favourite organs of all time. I had the joy to play there a concert with an ensemble for Old Music some weeks ago and I enjoyed every minute of playing there. Thank you so much for sharing your wonderfull playing with us!!! Little correction: Edo Evers didnt built a short octave, Evers's Keyboard started at F WITHOUT C, D and E. In the mid 18. century, Johann Adam Berner extended it to C without Cis and used old material for it. They didnt reconstructed it in the 1990s, because Berners Extention fits to the style and because then you dont have to miss the tones C, D and E for the church services. The Krummhorn is in parts from 1830 and in parts original.
What a beautiful voicing, and indeed, the mixture is a bit too loud, it's a bit ear piercing. The 4' krummhorn is a worthy replacement for the regal, reeds are very smooth on this organ. Another fine example of a North German renaissance instrument.
The mixture is definitively not too loud. Westerhusen 1643 and Buttforde 1681 have way sharper mixtures. For an organ from 1619 it fits that transition from late Renaissance to baroque very well.
it sounds so complete . How many of the pipes are actual Renaissance of the original instrument? Loved the Krumhorn. It sounds a good reconstructed instrument otherwise anyway.
Probably it means the fifths among the sharps and flats are tempered less than those among the naturals. The 'wolf' fifth G#-Eb should be less obstreperous.@@95tupolev
With the Werk 4' - 3' -2' - Trompet I think the Mixture's strength is appropriate. So maybe we should think of the Trompet as the necessary base to the pleno. Flues 8'-4'-3'-2' form a much more restrained ensemble which we might call a 'consort' pleno.
You are aware that the organ is not really as you claim. When someone changes any part of an organ, painting, poem, story, from what the original creator intended, the organ, or other work under consideration, is no longer his. The pipes may still bear his name but the tone is Not of his making, thus the organ is no longer an example of his intentions. Granted it is bright and breathy and is a visual work of art as are most organs built before 1900 or thereabouts. The acoustics of the building are clean as well. Just enough reverberation to be happy. Note also, that the good builder of Europe always provided a complete series of harmonics in their Diapason chorus. 8-4-2-2/3- and 2'. The imitators of so called baroque organs leave out the important 3rd harmonic as unnecessary, surperfluous. That Mixture would break a crystal glass. Way too dominant. Mixtures should sneak in under everything else to brighten the bass and re-enforce the trebles. Nice flute.
Yes, all that's true, but as almost no antique organs have gotten through the intervening centuries unscathed, this is about as close to the antique sound as we can get.
Lieber Herr Karosi, lange Zeit habe ich Sie nicht mehr an der Orgel spielen gehört. Das war heute wieder ein wunderbares Geschenk, für das ich Ihnen herzlich danke. Aus der Schweiz .
Thanks Balint for this wonderful presentation from Osteel. I agree that the two 4' flutes are really noteworthy, but I also especially like the Trompete on this organ. It's excellent in the combination with Octave 4 and Quinte. Together with Rysum, Uttum and Norden this is one of my top 4 favourites in Ostfriesland.
This is absolutely mind blowing to see and hear such an old and unique organ. I am an organ tuner now, and I've been building and restoring an organ for a church local to my state. I've even seen you, Balint in the AGO magazines!! I too now play the organ for a church! I must say ny favorite demonstration was the spitzflote--it is so pretty to hear and you did such a wonderful job demonstrating it.
Considering the Krummhorn is made from a Regal stop, wouldn't it be more appropriate to call them Krummhornregal. It would fit the description because it is a Regal Length stop with a Krummhorn sound. Actually more imitative of the actual instrument than French and German Traditional Krummhorn Stops. What a lovely Organ!
Balint, your videos get better and better with the historic places, churches and organs... but we all have now the example of BEN MATON, the Salisbury organists website, to reach the proper "Sitz im Leben" of any organ-music (he got 10000 new subscribers last month...)
It's so funny--the tone of this organ is so rich and interesting that I didn't even realize until the very end that there's not even a pedal division!
Same for me...! I was expecting a pedal in a German instrument, even of this age.
There's a pulldown pedal, probably playing the Werk. But it's really not that unusual to find small German organs of this period and even later without pedal stops.@@HenrikBergpianorganist
You truly have created the perfect organ lover's channel. Thank you.
Thank you for sharing a demonstration of this phenomenal instrument, Balint; your demonstrations are always top-notch!!! 😊
My pleasure!
That is a very bright Mixture! I love the Principal 8' . So warm . Beautiful voicing. Spitzflöte so beautiful!
What a delight. A magnificent instrument and wonderful demonstration.
Thank you for this excellent video! It's very well done and quite enjoyable! Absolutely wonderful!
Principal 8 and Octave 4 are very stringy. I'm not used to that, but they are beautiful!
I had the pleasure playing this organ a few times. I agree about it’s remarkable quality. Thank you for sharing!
I really enjoy your organ demonstrations. This is an especially pleasant organ. Thanks!
One of my absolute favourite organs of all time. I had the joy to play there a concert with an ensemble for Old Music some weeks ago and I enjoyed every minute of playing there. Thank you so much for sharing your wonderfull playing with us!!!
Little correction: Edo Evers didnt built a short octave, Evers's Keyboard started at F WITHOUT C, D and E. In the mid 18. century, Johann Adam Berner extended it to C without Cis and used old material for it. They didnt reconstructed it in the 1990s, because Berners Extention fits to the style and because then you dont have to miss the tones C, D and E for the church services.
The Krummhorn is in parts from 1830 and in parts original.
That is good to know. Thank you for the information
@@bkarosi thank you for your quality content here on TH-cam!!! I really enjoy your presentations!
Every instrument BK plays, he plays as though it had been built for him.
Magnífico! Brasil
Too few organs have a 1’ stop. Love the sound.
What a beautiful voicing, and indeed, the mixture is a bit too loud, it's a bit ear piercing. The 4' krummhorn is a worthy replacement for the regal, reeds are very smooth on this organ.
Another fine example of a North German renaissance instrument.
The Mixture was rebuilt by Ahrend
The mixture is definitively not too loud. Westerhusen 1643 and Buttforde 1681 have way sharper mixtures. For an organ from 1619 it fits that transition from late Renaissance to baroque very well.
There is also no 4' Krummhorn.
@@jankla4419 excuse, my error, I did mean the 8' Krummhorn.
wonderful - the organ reminds me a bit of Fairchild
Yes, but I like the Fairchild principal 8’ even better.
Thanks!
00:00 - Introduction
00:39 - Remarks
02:31 - On the instrument
Brustwerk:
03:08 - 4. Krummhorn 8' (1830)
Hauptwerk:
03:24 - 3. Principal 8' (1619)
04:01 - 3. Principal 8' (1619), 5. Octave 4' (1619)
05:11 - 5. Octave 4' (1619)
05:57 - 3. Principal 8' (1619) 5. Octave 4' (1619), 6. Quinte 3' (1619)
06:46 - 3. Principal 8' (1619) 5. Octave 4' (1619), 6. Quinte 3' (1619), 7. Octave 2' (1619)
07:20 - 3. Principal 8' (1619) 5. Octave 4' (1619), 6. Quinte 3' (1619), 7. Octave 2' (1619), Mixtur IV (1994-1995)
08:58 - 2. Quintadena 8' (1619/1761)
09:40 - 2. Quintadena 8' (1619/1761), 4. Spitzflöte 4' (1619)
10:37 - 4. Spitzflöte 4' (1619)
11:31 - 9. Trompete 8' (B/D, 1619/1761)
11:50 - 5. Octave 4', 9. Trompete 8' (B/D, 1619/1761)
12:23 - 5. Octave 4', 6. Quinte 3' (1619), 9. Trompete 8' (B/D, 1619/1761)
12:32 - Bass and descant commentary
N.B. - 1. Quintadena 16' (1619) not demoed.
Brustwerk:
13:09 - 4. Krummhorn 8' (1830) [bis]
13:41 - 1. Hohlflöte 4' (1619), 4. Krummhorn 8' (1830)
14:11 - 1. Hohlflöte 4' (1619), 2. Spitzflöte 2' (1619/1761), 4. Krummhorn 8' (1830)
15:00 - 1. Hohlflöte 4' (1619), 2. Spitzflöte 2' (1619/1761), 3. Sifflöte 1' (1619), 4. Krummhorn 8' (1830) [tutti]
15:22 - 1. Hohlflöte 4' (1619)
15:53 - 1. Hohlflöte 4' (1619), 2. Spitzflöte 2' (1619/1761)
16:06 - Dialogue. Hauptwerk: 4. Spitzflöte 4' (1619); Brustwerk: 1. Hohlflöte 4' (1619)
16:20 - Michael Praetorius (1517-1621) - Nun lob, mein Seel, den Herrn
The Praetorius at the end. Only nine years difference, and yet so very different from the well-known recording on the Frederiksborg Compenius.
it sounds so complete . How many of the pipes are actual Renaissance of the original instrument? Loved the Krumhorn. It sounds a good reconstructed instrument otherwise anyway.
Wenn uns ein Engländer unsere Orgeln erklärt 😍
Ist er Engländer? Ich dachte, er käme aus Ungarn!?
Thanks for demonstrating Balint, do you know what tuning/temperament the instrument is? It doesn’t sound quite like equal to me.
It has an “extended” Mean Tone Temperament, whatever extended means.
I thought extended meant more than 12 notes per octave. Do they mean 'modified meantone'? @@bkarosi
Probably it means the fifths among the sharps and flats are tempered less than those among the naturals. The 'wolf' fifth G#-Eb should be less obstreperous.@@95tupolev
Beautiful sounding organ, I liked the Spitzflöte especially but the Mixture was too powerful.
With the Werk 4' - 3' -2' - Trompet I think the Mixture's strength is appropriate. So maybe we should think of the Trompet as the necessary base to the pleno. Flues 8'-4'-3'-2' form a much more restrained ensemble which we might call a 'consort' pleno.
You are aware that the organ is not really as you claim. When someone changes any part of an organ, painting, poem, story, from what the original creator intended, the organ, or other work under consideration, is no longer his. The pipes may still bear his name but the tone is Not of his making, thus the organ is no longer an example of his intentions. Granted it is bright and breathy and is a visual work of art as are most organs built before 1900 or thereabouts. The acoustics of the building are clean as well. Just enough reverberation to be happy. Note also, that the good builder of Europe always provided a complete series of harmonics in their Diapason chorus. 8-4-2-2/3- and 2'. The imitators of so called baroque organs leave out the important 3rd harmonic as unnecessary, surperfluous. That Mixture would break a crystal glass. Way too dominant. Mixtures should sneak in under everything else to brighten the bass and re-enforce the trebles. Nice flute.
Yes, all that's true, but as almost no antique organs have gotten through the intervening centuries unscathed, this is about as close to the antique sound as we can get.
Lieber Herr Karosi, lange Zeit habe ich Sie nicht mehr an der Orgel spielen gehört. Das war heute wieder ein wunderbares Geschenk, für das ich Ihnen herzlich danke. Aus der Schweiz
.
Thanks Balint for this wonderful presentation from Osteel. I agree that the two 4' flutes are really noteworthy, but I also especially like the Trompete on this organ. It's excellent in the combination with Octave 4 and Quinte. Together with Rysum, Uttum and Norden this is one of my top 4 favourites in Ostfriesland.
This is the perfect organ for my type of playing. Thanks for demoing this great instrument.
So there are Quintadenas at both 16' and 8'?
Yes
Greetings from Serbia. Balint, thank you for showing us old instrument that we probably would never be able to see and hear.
This is absolutely mind blowing to see and hear such an old and unique organ. I am an organ tuner now, and I've been building and restoring an organ for a church local to my state. I've even seen you, Balint in the AGO magazines!! I too now play the organ for a church!
I must say ny favorite demonstration was the spitzflote--it is so pretty to hear and you did such a wonderful job demonstrating it.
Considering the Krummhorn is made from a Regal stop, wouldn't it be more appropriate to call them Krummhornregal. It would fit the description because it is a Regal Length stop with a Krummhorn sound. Actually more imitative of the actual instrument than French and German Traditional Krummhorn Stops. What a lovely Organ!
Fantastic demo! I think every organ should have a smooth, blending Trompete like this.
Balint, your videos get better and better with the historic places, churches and organs...
but we all have now the example of BEN MATON, the Salisbury organists website, to reach the proper "Sitz im Leben" of any organ-music (he got 10000 new subscribers last month...)
👍....So much larger looking inside with great acoustics. Thanks for your expert demo.
Interesting that there is no tierce in this organ.
schade, dass Sie nicht Bescheid gesagt haben: meine Orgel von 1799 ist in Altenesch bei Oldenburg
Ist nicht die Altenesch-Orgel ohne Pedal Registern?
hat Zungenregister 8 - und 16 Fuss im Pedal von 1792...@@richardholmquist7316
The 8’ principal is surprisingly fluty and rich!
High lead content
Thank you for this wonderful introduction to a thrilling instrument!