12. O Traurigkeit, O Herzeleid | Op. 15 Papperitz | OAM 1885 Ladegast Sampleset, Hauptwerk VI
12. O Traurigkeit, O Herzeleid O Sadness, O Heartache "Mit dunkler Farbung" (with dark colours) Con dolore P: Octave 4 I: Bordun 16, II-I, III-I II: Flauto amabile 8 III: Flauto travers 8 Described as a sorrowful, funeral hymn on the entombment of our Saviour Jesus Christ and captures the emotion of Good Friday. Playlist with all of Op 15 (new videos will be added here) https://youtube.com/playlist?list=PLp6Uk_yLNQaBYk8Qo-oiYwwDmxfaaSHVr (Benjamin) Robert Papperitz (1826-1903) was faculty at the Leipzig Conservatory and organist at the Nicolaikirche. His chromatic and unexpected harmony was highly influential in the development of the German romantic style, and clearly sets the stage for Reger and Brahms. Battison Haynes was an English organist who studied with Papperitz, and was strongly influenced by these harmonic developments: he deciated his epic Op 11 Organ Sonata to "Herrn Professor Dr. Robert Papperitz, verehrungsvoll gewidmet" Haynes returned with these ideas to England and his ongoing harmonic development was part of a lineage that ultimately led to Elgar's great organ sonata. These Choral-studien Op 15 were written by Papperitz for the students at the Leipzig Conservatory and he envisioned that they would "prepare students for the creations of JS Bach (Orgelbuchlein and so on)" - these lovely works are quite the challenge to learn and interpret due to the oftentimes surprising harmonic progressions. Iain Quinn in his preface to this edition comments that in his preparation of the manuscript "there have been moments when it has been natural to question a pitch or indeed a harmonic progression but it soon became clear that Papperitz yields towards the unpredictable and that his relative waywardness is an intrinsic element of these pieces." I have chosen to realize these Choral-studien on the wonderful 1885 Friedrich Ladegast sampleset, recorded by Prof. Maier of Organ Art Media. This instrument is of historic significance, being almost in its original state. Ladegast was known for distinctive foundation stops and he brought techniques he learned from Cavaille Coll to the German Romantic tradition. When Robert Papperitz was organist at the Nicolaikirche, the instrument there was an 1862 Ladegast. The wonderful warm colors of the Wernigerode organ really bring these works to life. The Score is available from UtOrpheus: http://bit.ly/3q02fnU System Details: MIDI Console by Content https://www.contentorgans.com/en/ Hauptwerk V https://www.hauptwerk.com/ Mac Mini, 64GB Ram https://www.apple.com/mac-mini/ Motu Ultralite-mk3 Audio Interface https://motu.com/products/motuaudio/ultralite-mk3 Sampleset: 1885 Friedrich Ladegast, Organ Art Media https://www.organartmedia.com/en/friedrich-ladegast #hauptwerk #ladegast #organartmedia
12. O Traurigkeit, O Herzeleid O Sadness, O Heartache "Mit dunkler Farbung" (with dark colours) Con dolore P: Octave 4 I: Bordun 16, II-I, III-I II: Flauto amabile 8 III: Flauto travers 8 Described as a sorrowful, funeral hymn on the entombment of our Saviour Jesus Christ and captures the emotion of Good Friday. Playlist with all of Op 15 (new videos will be added here) https://youtube.com/playlist?list=PLp6Uk_yLNQaBYk8Qo-oiYwwDmxfaaSHVr (Benjamin) Robert Papperitz (1826-1903) was faculty at the Leipzig Conservatory and organist at the Nicolaikirche. His chromatic and unexpected harmony was highly influential in the development of the German romantic style, and clearly sets the stage for Reger and Brahms. Battison Haynes was an English organist who studied with Papperitz, and was strongly influenced by these harmonic developments: he deciated his epic Op 11 Organ Sonata to "Herrn Professor Dr. Robert Papperitz, verehrungsvoll gewidmet" Haynes returned with these ideas to England and his ongoing harmonic development was part of a lineage that ultimately led to Elgar's great organ sonata. These Choral-studien Op 15 were written by Papperitz for the students at the Leipzig Conservatory and he envisioned that they would "prepare students for the creations of JS Bach (Orgelbuchlein and so on)" - these lovely works are quite the challenge to learn and interpret due to the oftentimes surprising harmonic progressions. Iain Quinn in his preface to this edition comments that in his preparation of the manuscript "there have been moments when it has been natural to question a pitch or indeed a harmonic progression but it soon became clear that Papperitz yields towards the unpredictable and that his relative waywardness is an intrinsic element of these pieces." I have chosen to realize these Choral-studien on the wonderful 1885 Friedrich Ladegast sampleset, recorded by Prof. Maier of Organ Art Media. This instrument is of historic significance, being almost in its original state. Ladegast was known for distinctive foundation stops and he brought techniques he learned from Cavaille Coll to the German Romantic tradition. When Robert Papperitz was organist at the Nicolaikirche, the instrument there was an 1862 Ladegast. The wonderful warm colors of the Wernigerode organ really bring these works to life. The Score is available from UtOrpheus: http://bit.ly/3q02fnU System Details: MIDI Console by Content https://www.contentorgans.com/en/ Hauptwerk V https://www.hauptwerk.com/ Mac Mini, 64GB Ram https://www.apple.com/mac-mini/ Motu Ultralite-mk3 Audio Interface https://motu.com/products/motuaudio/ultralite-mk3 Sampleset: 1885 Friedrich Ladegast, Organ Art Media https://www.organartmedia.com/en/friedrich-ladegast #hauptwerk #ladegast #organartmedia