The-Bach-Project-Volume-2-Organ-Works-of-Johann-Sebastian-Bach--Marcussen--Son-Organ-Laurenskerk--Rotterdam-Th

The first volume of The Bach Project was recorded using Hauptwerk technology on a restored 1721 Dutch organ with the intent that future volumes would explore many other instruments. As Bach played on both old, and new innovative instruments of various organ building schools during his career, it seemed only fitting to record this second volume using the more recent, historically-inspired, Dutch 1973 Marcussen & Son organ. This very large tracker organ was recorded at a distance of about 50 feet (15 meters) in order to effectively capture the spacious reverb of up to six seconds. The liner notes for The Bach Project, Volume 1, describe the Hauptwerk recording process in detail. To reiterate briefly, it is a way to perform on world-heritage organs; however, the organs are recorded in their entirety before the performance. All sounds being heard are the actual organ and not a simulation, nor is it the recording of a digital instrument. Even the very rattles and squeaks of a mechanical action organ are recorded in detail.

Marcussen & Son Organ (1973), Laurenskerk, Rotterdam, The Netherlands. This large gothic church in Rotterdam, begun in the 15th century, was completed in 1525. However, the church and its organ were completely destroyed during the fire-bombing of Rotterdam on 14 May 1940. The large organ which one hears in the church today was built by Marcussen & Son in 1973. The organ case was designed by the architect J.W. Besemer. The instrument is based on a 32-foot pedal, and consists of six divisions: Rugwerk, Hoofdwerk, Bovenwerk, Borstwerk, Chamadewerk and Pedaal. A completely mechanical organ with 85 speaking stops and approximately 7600 pipes, it is said to be the largest purely mechanical organ in Europe. An optional Barker mechanism can be switched on by a foot lever to help the organist when all the manuals are coupled together. However, the full instrument can be operated without this device very well.

One striking feature of the instrument is its multi-rank Principal stops. Practically all the Principals and Octaves 16-ft, 8-ft, 4-ft of all the divisions are made of more than one unison sounding rank. I have heard this special feature in some Spanish organs, and it makes the sound of the Principal chorus considerably wider and deeper than usual. The timbre becomes characteristically rich, which cannot be achieved easily with a conventional single-rank Principal. For Hauptwerk recording, this constitutes a special challenge, since the chorus effect of the pipes, which are often not exactly in tune, makes looping really difficult. Only very long samples (around 9-11 seconds) are usable for the virtual model of the organ. Another noteworthy feature is the composition of the mixtures which have an unusually high number of ranks as well. The Cimbal on the Bovenwerk is remarkable for its neo-baroque composition including a quart and a sext.

A beta tester comments: This is a remarkably colorful and beautiful organ whose sound is surprisingly gentle. None of the voicing feels harsh or pushed. Instead, we get double-rank principal stops and large mixtures with many ranks of gently-voiced pipework that result in a natural, unforced sound. In fuller ensembles, the organ roars, but it never screams - even when the chamades are playing. The sound remains beautiful and comfortable even when played for several hours in headphones.

Born in Washington, D.C., organist Todd Fickley began his studies at the Washington National Cathedral under Bruce Neswick. At age 23, he was made a Fellow of the American Guild of Organists (AGO), and holds the AGO Choirmaster Diploma. He also earned a Master of Arts in Organ Performance with High Distinction from the University of Wales. For many years, Fickley taught and prepared choirs of all ages using the Royal School of Church Music system.