It’s finally time for part 2 of Vogler’s wonderful 32 preludes! Here are no. 9-16, and they’re just as lovely as the first eight that I recorded last year.✨A mix of characters ranging from the very energetic no. 9, 11, and 15, to the suave no. 12, which is like a warm summer wind, or the lyrical, pensive, Mozartian 16th prelude.🎹And the rest are somewhere in between. Written for organ or piano, they present different challenges on each instrument, one being the dynamics in the case of the organ. My solution is frequent manual changes…!😅The unique 1783 Söderström organ of Dala-Husby with all its quirkiness lends these pieces a lot of different colours, colours from Vogler’s own time.🌈 Vogler actually spent the years 1786-1799 in Sweden, but these preludes seem to have been written after that. Hope you like them, and don’t forget to click the thumbs up and subscribe!😃
They are much trickier than they might seem! Vogler often composes quite uncomfortable textures. Or maybe it's because our hands are used to Mozart, Haydn, and Beethoven, but this is something else, even though it's in the same style!
@zachricher Not to mention no. 12...! That's because the action has to go out to the sides, up, and back to the middle above the organist. Many different moving parts, and it's impossible to avoid noise on this organ. But I suppose that's the charm about old organs...
So. Organist/Organbuilder fails to get his Meisterbrief. In Sweden?! Yup. It took me a long time to believe this of Swedes. Never again. You'll remember the younger Hildebrandt. Bach comes to inspect and accept a new instrument by his homie. B pulls out every stop, except the voix céleste (Jk!). Bach plays a neapolitan 6th in the third inversion, notes doubled and trippled alla Reger. That acoustic fifth in the pedals with the two feet=low C and G. The whole organ sags. The upperwork sounds worse than the worst out-of-tune. Bach gives H a look. H goes back home and is not seen un public for decades. B will not speak to H decades. He got burned. Only in Germany/Saxony. Seriously. But wait! In later years H builds the organ at Naumburg. B comes again to inspect it. Treats H like the invisible man. Only Germans can pull off the demolition of "Scheiss freundlich" in this manner. B improvises and plays and tests around. He listens to a Fonds 8' in every division. Then coupled. Then witn the chorus reeds. Then feels more than hears that Posaune 16' of wood and of large scale. B can't hold it in any longer. He pivots off the bench and stands up respectfully. Says "komm m' her du." Abrasso like in Argentina. Bach talks. "This is the organ I envisioned (vorschweben) my whole life, bro." I can just hear that familiar/bawdy register of Sächsisch. Scandalous to the rest of us, but warm and funny to native ears. Why does a guy even attempt to re-tell that true story?! Bc "Friends at first; friends at last." That's why. Two Saxon G's hardly past their teens became "man enough." Bach is our Spirit Animal, right? ==== Ain't me. But s/o needs to produce a short off this bit of documented history. Enter it in Sundance about 18 miles from where I live. Who though? Ingmar Bergman! (You've seen his Zauberflöte am sure.) Your site is fun, H. Crack whip and call "blasphemy" if it ever gets out of hand. I mean that. M
Back in the 1700's I guess Sweden was different ;) It is a very quirky instrument, but I love playing there! Gonna start practising for pt 3 very soon. :) (And yes, I have seen "Trollflöjten"...!)
