GdO Tagung Hamburg (3) - Mariendom

Karsten , Samstag, 17. August 2019, 09:22 (vor 2575 Tagen) @ fluteceleste
bearbeitet von Karsten, Samstag, 17. August 2019, 09:40

Hallo!

Von mir aus ebenfalls ein "Danke!" für die Berichterstattung von der GdO. Ich freue mich auf die kommenden und ergänzenden Beträge.

Zeitlich passend postet Nathan Laube auf seiner Facebook-Seite seine Klangeindrücke von der Beckerath-Orgel im Hamburger Mariendom. Seine Klanganalysen sind bemerkenswert, zeigen sie doch einen Interpreten, der zunächst einmal das Instrument mit all seinen Stärken und Schwächen zur Kenntnis nimmt.

Zu den Ergänzungen von 2008 schreibt er:

"In 2008 the decision was made to somewhat expand the scope of the instrument with some 15 new stops, most of which grouped into an enclosed fourth manual called “Hinterwerk” (which plays mechanically itself, but couples through electric couplers to all other manuals), and then giving the Pedal a 32’ Untersatz, 32’ Bombarde, and 16’ Fagott. The good news is that you can ‘take it or leave it’ – the original content and identity of the organ remains intact, and then you can pick and choose how you wish to incorporate the rest. It’s not an insignificant division (16’ Bor. 8’ Fl. Harm. 8’ VdG 8’ V.Cel. 4’ Pr. 4’ Fl. Oct. 4’ Fug 2’ Octavin V Cornet V Plein Jeu 8’ TR 8’ Vox 4’ CL.) and there are good stops (especially the 8’ 4’ harmonic flutes). It was interesting, however, that I found myself using it sparingly and mostly in a soloist, or echo, special effect capacity. While the Bach used only 1967 resources, in the Alain (Deuxième Fantaisie), only its V-Cornet and 8’ 4’ reeds were integrated into the 8’ Tutti, and there of course, the Viole de Gambe had it’s moment in the sun. In Liszt, the 8’ Flûte harmonique occasionally rounded out a “Fonds d’Orgue,” the Voix Humaine warbled away as in Batiste Offertoire or Communion (wonderfully), and here it was only the Cornet and 8’ Trompette for the Tutti. In the Reubke, except for all the special effects in the pianissimo-piano range where the soft stops were very useful, the Cornet was the only stop that was used in the ensemble (basically at Tutti as a crowning stop). The personal verdict: nice that the added possibilities are there, but still find the original 1967 material of the organ the most poetic and interesting part of the instrument.
So here's another thought-provoking organ which reaffirms yet again how important it is to respect these best instruments from a period not always so ‘in vogue’ today. The proverbial pendulum continues to swing away from these always engaging sounds – full of imagination and originality – and I have often even heard people apologizing for the qualities that makes these organs great on their own terms. [...]"
https://www.facebook.com/nathan.laube/posts/541114945624

Gruß
Karsten