Just had a second thought. You were kidding, weren't you?
At 07:58 PM 11/10/98 -0500, Ben Crick wrote:
>On Tue 10 Nov 98 (16:30:14 +0100), [log in to unmask] wrote:
>> I am playing Felix Mendelssohn's first organ sonata. I have tried
>> playing it "pleno", because Mendelssohn wants it so, but it is too
>> shrill, as I think. Is this ok? Or which stops should I use and which
>> not?
>
> Dear Michael,
>
> What a splendid work that 1st Organ Sonata in F is! I played it only about
> a month ago.
>
> The first movement needs to start with "Volles Werk": not every stop out,
> but the main Diapason chorus to Mixture, with reeds (if there are no reeds
> on the Great, then with the Swell reeds coupled). At bar 11, put the reeds
> off (or just decouple the Swell). Don't forget the Pedal reeds also. If your
> Mixtures are too shrill, then drop the Sesquialtera or the Scharf, but keep
> the 12th-19th-22nd; or reduce to the 12th-15th.
>
> For the Chorale (marked Clav. II) you will need the Swell reeds which you
> decoupled at bar 11, unless you have a Choir or Positive division with
> suitable reed stop(s).
>
> 39 bars before the end of the 1st movement you should return to Full Organ
> again, and for the final pedal entry two bars later add the Pedal reeds.
>
> The second movement is a delicious bit of romantic saccharine which needs
> contrasting tone colours (Gamba versus Flute). From bar 49, take the left
> hand as a tenor solo on the Choir Clarinet for 11 or 12 bars; returning to
> the Clarinet for the snatch of the melody in the left hand from bar 69.
>
> In the 3rd movement Mendelssohn calls for the Vox Humana or Corno di
Bassetto
> (Clarinet) with tremulant for the top two staves. The chords on the third
> staff down should be on Great diapasons to 12th-15th rather than Volles
> Werk. You do not want to drown out your Vox Humana or C. de B. Or use
> Great Flutes 8 and 4, plus the Diapason 12th and 15th.
>
> The final movement must follow on the 3rd without a break. You will need
> the Great flues with Swell coupled, but keep the reeds in reserve and add
> them over the long pedal-point bottom C, culminating with the pedal reeds
> for the pedal cadenza under the G minor chord. Then take off the Pedal
> reed, but add it again for the pedal flourish after the long bottom F.
> The final perfect cadence should be on Volles Werk; but if you have a
> Solo Tuba Mirabilis, take the *left hand chords only* on the Tuba, rather
> than just coupling the Solo to Great. In this case use the Swell Sub-octave
> coupler to Great if you have one; or make sure all the manual doubles are
> "on" for the final right hand chords over the left-hand Tuba.
>
> That should "bring the house down"!
>
> Ben
>--
> Revd Ben Crick, BA CF
> <[log in to unmask]>
> 232 Canterbury Road, Birchington, Kent, CT7 9TD (UK)
> http://www.cnetwork.co.uk/crick.htm
>
>::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>Note: opinions expressed on PIPORG-L are those of the individual con-
>tributors and not necessarily those of the list owners nor of the Uni-
>versity at Albany. For a brief summary of list commands, send mail to
>[log in to unmask] saying GET LSVCMMDS.TXT or see the web page at
>http://albany.edu/~piporg-l/lsvcmmds.html .
>::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Note: opinions expressed on PIPORG-L are those of the individual con-
tributors and not necessarily those of the list owners nor of the Uni-
versity at Albany. For a brief summary of list commands, send mail to
[log in to unmask] saying GET LSVCMMDS.TXT or see the web page at
http://albany.edu/~piporg-l/lsvcmmds.html .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
|
