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The Registration of Baroque Organ Music

it was amazing 5.00  ·  Rating Details  ·  2 Ratings  ·  0 Reviews
The Registration of Baroque Organ Music is the first book-length study of the registrational practices of organists from c. 1550 to 1800. Each of the four parts of the book–the Renaissance and the Early, High, and Late Baroque–starts with a brief description of the political and religious climate of the period and the way such factors affected the compositions and the orga ...more
Paperback, 296 pages
Published February 1st 1999 by Indiana University Press (first published 1997)
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“Much of the music of the north European Baroque is familiar to organists, but it is often played and registered in a static and lackluster manner. This music is exuberant; the big pieces were meant to be exciting and even startling, and the small pieces offer endless opportunities for color. Perhaps part of our problem lies in the familiar brittle-sounding “neo-Baroque” instruments of the 1950s and 1960s that we tend to associate with this music, with their thin, top-heavy sound and unyielding wind supply. While it is true that the organs of northern Europe ostensibly provided the inspiration for this style, it is more of the letter than the spirit. They look all right on paper, but lack the substance to deliver musically.
The instruments for which Buxtehude, Bruhns and Böhm wrote are red-blooded, warm, and colorful, with seeming faults–such as unequal temperament and wind systems of uncertain equilibrium–that turn to virtues when the right music is played on them.”
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