A lovely-sounding instrument. Each stop is so distinct and full of character. Wonderful voicing - *all that chiff is truly delicious!* And that sweet wooden Posaunenbaß! ❤️ (Although I'd prefer a 4' Koppelflöte or Spillflöte to a 4' Salicional. Alas....) Merci bien. 👍
What an amazing instrument! The tone colors are so rich. It is incredible that such a new instrument can sound like some of the historic instruments built 200+ years ago.
What I like here is that it is a contemporary church building. But they wanted a traditional sound, so they have a new organ, which even looks contemporary, but built to the methods and sounds of the Baroque. Fantastic, and well displayed by the organist!
I would like to complement the organ builder as well as your playing. Both are very beautiful. I'm glad the organ builder took the extra time to build the beautiful casework of the old style instead of just slapping plywood together as so many modern 20th and 21st century builders are doing, even in the old cathedrals.
You are absolutely correct about the versatility of the instrument. Your improvisations bring out the voice of the organ so nicely. Thanks for all the joy you bring to your RU-vid audience. Wish I could say that in Hungarian
Great sounding small organ that punches well above it weight is both character and in power. Your improvisations were interesting. Hints of Bohm and Frescobaldi. The partial adagio from BWV 564 was nice. I enjoyed the whole video. Thanks for taking the time to make it.
Wonderful instrument. So many years since the Orgelbewegung to come at least these last years to this sound was worth all the efforts. I feel like Reincken hearing at Bach. I got emotions.
After the “barbaric invasions” due to J. Ahrend mistifications (and pupils) we have to go in Hungary to rediscover the lost art of the orgelbewegung voicing ( Flentrop, Danion-Gonzales, Rudolph von Beckerath, Formentelli)
@@andreacosta74 funny statement, as Ahrend had to put an end to decades of mystifications regarding voicing (low pressure, low cut, open feet, no dents, etc.) that were propagated by the Orgelbewegung ideologists and more or less willingly applied by Paul Ott (where Ahrend learnt the trade!) & others, effectively ruining dozens of ancient organs... I do not quite see the relationship between Formentelli's obsession to kill the fundamental in favor of the 2nd harmonic, and Beckerath's style for instance. Victor Gonzalez original voicing style was radically different (see Bailleul, Reims cathedral, ...) from Orgelbewegung stuff, and that Orgelbewegung-oriented voicing became a commonplace with the Danion-Gonzalez boutique much later, here again under the influence of musicologists (Dufourcq) because no organ builder in his right mind would go that far. Concerning the handling of central German voicing by Ahrend, see for instance Wetzlar (I played it once). Concerning the art of voicing viola da gambas, the guy who impressed me most was Philippe Hartmann, who received the (pre-Orgelbewegung) tradition via Gutschenritter (former Merklin factory). We had an ugly raspy gamba there from an unknown builder. I told him I'd like a Walcker-style gamba, 1830 flavor, with slow buildup and chaging color. The next day, and after careful re-voicing, I had it. Relationship with Walter Supper, Christhard Mahrenholz, Paul Ott, etc. ? I do not see (or hear) it...
you missed the theatre organs of barton compton wurlitzer kimball morton and midmer losh organ..all those organs have strings better than that on this organ
Oh my god that is cool! I've had ideas in my head for organs like that, where the stops aren't bound to any manuals (with the few exceptions that this instrument has.)
I appreciate that there is a lot of historical expertise to draw from when building these things. What staggers me is that someone has to start with a plan, not just knowing the sounds they want but also knowing what can and cannot be done. It can be no easy matter creating a system that can control the airflow to those pipes for example. Creating a system that keeps the flow consistent when switching from low-air volume demand to high-air volume demand must create problems of its own. When did musicians become engineers? Then someone must have a test-plan for all possible permutations of those levers. How does the placement of pipes affect their sound alone and with the others? I wouldn't even attempt to tune my piano. Organs like this are a world apart. Respect.
@@moderatemind355 And up to three strings for each key. Pretty sure I wouldn't want to try either one of them. I have trouble enough getting a piano to sound good when it is tuned.
Very cool, thanks for the demo! Was just in Budapest, scary how RU-vid knows =P I'd be happy to send you some BCH as thanks for taking the time to upload this!
Wow, this is so interesting! If I wouldnt know better, I would totally guess this organ was the organ in Waltershausen. Especially with the principal and viola di gamba
Bálint, you do such a great job showing us the registrations. But would you mind putting music details of pieces played (or partially played) in the video description? I can't be sure at times when you are improvising and when you are playing a piece I don't recognise that I would like to obtain a copy of.
But it sounds HORRIBLE. It's like a terrorist attack to the ear drums. very poorly constructed and using inferior materials. I played it several years ago and it has only value as a curiosity and for history sake of the philipines but not so much musical value.
Marcel Pogoda you should contact Aeris orgona for an accurate price but I am sure this organ would cost significantly less than a similar instrument from a Swiss, Dutch or German builder. Definitely worth asking!
Is the music when he is sampling the Principal 8' composed or improvised? If composed I would like to know what it is. If improvised it's not a surprise.
Really though, what is the point of this stop system? I play a small 25 stop Casavant with just traditional stop knobs and a few coupler pedals for an action. Even that is awkward with no assistance. Here it seems like an exercise in aggravation. Sounds great though.
Interesting organ. However the wind supply does cross the line from being “lively” to “unsteady”. I guess it may be partly down to the design of the large soundboards but I suspect it’s not. Voicing is a bit of a curate’s egg too - some nice things but the top of of the PosaunenBaß doesn’t seem performant. Not sure how I feel about knots in organ case wood work.
Having spoken at length with an organ builder, he has found that pretty much every baroque thuringian organ is lacking in tonal output in the reeds, due to the designs and methods of construction
Free impov tbc! That is, our unusually well trained + self educated organist is not basing the melodies on any known melody. What that means? A set melody makes improv of several independent voices easier. 1) You memorize and internalize this preexisting main melody--so that you hardly need to to think about it. 2) This allows more thinking and concentration to go into the other 2-3-4 melodies going on at once. 3) If that were not enough, under everything is this organist''s absolute mastery of harmony. That is, of knowing the characteristics of each of the 24 keys. Each key, when playing on a keyboard (no pun!) goes from using only white keys, to using the whites as a basis but then introducing one or more of the 5 black keys instead of the previous white one. (!) Then... then you need to know the 12 different moods of sunny/happy ("major") keys; and then 12 more of anxious/sad/pensive/creepy ETC ("minor") keys. But wait! Keys ain't nothin compared to the cluster of notes called "chords." You need to internalize until blue in the face 8 very basic chords, each containing a low note from each key/key mentioned up there somewhere. You could go on for 2000+ pages just on harmony. That was enough to praise B to high heaven. Enough to let you know the extra high levels of calm, skill, IQ, EQ, memory, muscle memory, coordination between 2 hands and 2 feet going at once...not to mention the sheer gift from God knows where to where to some unsuspecting boy in Hungary....that are required to make smooth, tight, musical improvs on the pipe organ. AND that a 100% free improv when done right is the higher level of improvisation (and composition) itself. I mean: Bravo man!
Is not there the third in the mixture? I like the intonation and temperament. It has a right sound. Usually the modern organs are too much perfect and they play like a electronic organ for my taste.
This organ is meant to replicate the instruments that J.S. Bach would have been most familiar with. the swell box wasn't invented until long after Bach's death, so most "Bach-organs" contain no swell division:/
This kind of craftmanship and, above all, Voicing, makes my cry of joy for the rediscovering of the lost art of the truly historically correct orgelbewegung! IT means: NO NICKING or other artifacts on the labia and OPEN TOE voicing. The rediscover of the Baumeister orgel in Maihingen docet to all..
The stops should be called Gedeckt. This means "covered". These types of stops have capped pipes allowing the pipes to sound an octave lower. Gedackt is a corruption that still pervades today.
Bullshit. Gedackt is not a corruption. Back in the days there was no such thing as a standard spelling. It varied according to area and era. Gedeckt/gedackt/gedäckt/gedekt/gedakt/gedect/gedact. They are all historically accurate and absolutely not a corruption. The same as with the stop octave/oktaf/oktave/octav/octaaf/octaef/oktaef.
I consider my self a novice if not beginner musician but, I felt it was out of tune. I assumed “what do I know compared to the experts who play it?” But, seeing someone else mention it makes me think my ear is better than I thought.
It's not out of tune. It has a flexible winding system which may appear to cause slight deviations. Furthermore it is not tuned in the same way as modern instruments- the octave is unequally divided
Bachtehude The historic organs I know be it in Northern Germany, the Netherlands, Southern Germany and Saxony (Silbermann among them) are all sounding perfect to my ears. Also the Wender Organ in Arnstadt sounds perfect. But compare it yourself: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-wCzggf6bv9E.html
I'll reinforce what most have already said, the wind supply is a bit uneven, adding on to that, it is tuned in an unequal temperament, which Dr. Karosi mentioned in response to a couple comments above was designed by the builders themselves of this particular instrument, Aeris Orgona of Hungary.
