IMPROVISATION Kees van Eersel improviseert over Lied- en Psalmmelodieën Müller-orgel 1756 Beverwijk скачать в хорошем качестве

IMPROVISATION Kees van Eersel improviseert over Lied- en Psalmmelodieën Müller-orgel 1756 Beverwijk

#keesvaneersel #willemvantwillert #promotionorganprojects INHOUD CONTENTS 0:15 Psalm 137 2:27 Geest van hierboven [LB 675/446] 6:21 How sweet the Name of Jesus sounds [LB 969/446] 10:30 Jeruzalem, jij stad door God gebouwd [LB 750/264] 13:00 Zetting, Jeruzalem, jij stad door God gebouwd 14:03 Komt, kinderen, niet dralen [LB799/441] 17:21 Nun sich der Tag geendet/Nu is dag... [LB 244/389] 18:51 Zetting, Nun sich der Tag geendet/Nu is dag [LB 244/389] 20:00 O das ich tausend Zungen hätte [LB 440] 22:13 Zetting, O dass ich tausend Zungen hätte 24:21 De wereld is van Hem vervuld (Mel. 1704) [LB 825/86] 27:05 PARTITA Psalm 121 Zetting 28:08 Var. 1 (Fl.4) 29:14 Var. 2 (Fl8,4,2) 30:04 Var. 3 (C.f. in Sopr.) 32:10 Var. 4 (Gefigureerd koraal) 34:01 Slotzetting a 2 Clav. e Ped. INLEIDING Dat Kees van Eersel meesterlijk kan improviseren bewijst hij met deze opname waarop hij, op uitnodiging van Willem van Twillert, twee psalmmelodieën en zes liederen improviserend onder handen neemt al spelend op het historische Müller-Orgel [1756] te Beverwijk. Spontaan musiceren op hoog niveau. #willemvantwillert INTRODUCTION ENGLISH #keesvaneersel #willemvantwillert #promotionorganprojects Kees van Eersel proves that he can improvise masterfully with this recording in which he, at the invitation of Willem van Twillert, improvises two psalm melodies and six songs while playing on the historic Müller organ [1756] in Beverwijk. Spontaneous music-making at a high level. #willemvantwillert ORGAN HISTORY Check https://christianmuller-orgel.nl/gesc... HOOFDWERK C - c' Praestant 8' 1756, discant dubbel front, 1983 Roerfluit 8' 1756, wijde mensuur Octaaf 4' 1756 Quint 3' grotendeels 1983, discant dubbelkorig Superoctaaf 2' 1756, disc. dubbelkorig, 1983 Sesquialter 2 sterk 1756, terts dubbelkorig, 1983 Mixtuur 4-6 sterk 1756 Trompet 8' 1756/1883/1983 BOVENWERK C - c' Praestant 16' discant 1756, in front Holpijp 8' 1756, in feiteRoerfluit, korte nauwe roeren Quintadena 8' 1756 Gemshoorn 4' 1937, in 1983 ½ toon opgeschoven i.v.m. toonhoogte herstel Nachthoorn 2' 1756 Cornet 4 sterk 1756 Schalmeij 8' 1937/1983 Vox Humana 8' 1756/1883/1983 dubbele kegelvorm PEDAAL C - c' Bourdon 16' 1756, eiken Praestant 8' 1756, gedeeltelijk in het front Octaaf 4' 1756 Woudfluit 2' 1756 Fagot 16' 1756/1983 Trompet 8' 1756/1983 Manuaalkoppel bas/discant Ped-Hwk Tremulant gehele orgel Toonhoogte: a = 415 Herz Stemming: naar Valotti [18e eeuw] Christian Müller’s success came in 1727 when he finished a three-manual organ for the Jacobijnerkerk in Leeuwarden. In 1734 followed a rebuild of the organ in the Oude Walenkerk in Amsterdam and then in 1738 the massive organ in the Bavo in Haarlem, which, with 60 stops was only a bit smaller than the Schnitger in Zwolle. Müller’s next major build was the organ for the GROTE KERK, BEVERWIJK [1756] which is now the most authentic larger Müller organ left. Check, https://christianmuller-orgel.nl/history Müller’s organs were mainly built for accompanying congregational singing, the organ in Haarlem being the exception. This meant powerful Principal choruses, often with doubled trebles, sturdy reeds and Cornet stops and usually only one Flute stop (8’) on the Great manual of his two and three manual organs. Christian Müller is best known for his organ in the St. Bavo in Haarlem, which at the time was the second largest instrument in The Netherlands. Müller himself was not Dutch, but German. He immigrated to The Netherlands and went to work in Amsterdam with Cornelis Hoornbeeck, a Dutch organ builder. Afterward, he also worked with former Schnitger apprentice, Rudolf Garrels. In 1720 he started his own company and got married. His wife died a year later and he immediately married again, a marriage which was blessed with eleven children. Christian Müller’s success came in 1727 when he finished a three-manual organ for the Jacobijnerkerk in Leeuwarden. It was his third organ in two years’ time, the other two being one-manual instruments. Müller’s organs were mainly built for accompanying congregational singing, the organ in Haarlem being the exception. This meant powerful Principal choruses, often with doubled trebles, sturdy reeds and Cornet stops and usually only one Flute stop (8’) on the Great manual of his two and three manual organs. CREDITS FILM Sonja Koopal, Herman Logtenberg