Samuel Scheidt - Hymnus, Christ qui Lux es & dies - Ingo Duwensee, Wilde/Schnitger organ Lüdingworth

From Tabulatura Nova Pars II (Hamburg, 1624) 0:00 Vers 1 Ow P8 (Choral in Cantu) Vers 2 Ow P8 / Pd C2 (Choral in Cantu) 2:38 Vers 3 Bp R8 G4 (Choral in Cantu) Vers 4 Ow T8 04 (in Tenore) Vers 5 Rp D16 G8 P4 02 (in Alto) 5:39 Vers 6 Ow Rf8 Hf4 (in Cantu) 6:40 Vers 7 Ow Hf4 (Bicinium) 8:05 Vers 8 Bp R8 G4 02 (in Tenore) 9:33 Vers 9 Ow 016 T8 04 Rpf Mix/ Pd Pos16 T8 P8 04 Rpf Mix (in Basso) Score from Städtische Bibliotheken Leipzig. Bonus: pieces from Clavierbuch der Susanne van Soldt (before 1599) 11:36 Almande prynce Ow Rf8 / Rp G8 (Wiederh.) Ow Rf8 04 N3 (repryse) 13:20 Brun Smeedetyn Almande Bp G4 / Bp R8 G4 Qf3 (repryse) 14:51 Als een Hert gejaecht, den 42 sallem Rp D16 G8 P4 02 Sch Organ description (from GoArt database) The “Land Hadeln,” the area of Elbe marshland east of the modern city of Cuxhaven, was for a time called the “Peasant Republic.” This not-quite-correct term describes the situation that the ruling class in Hadeln were free peasants who had built a region to a large extent independent of the sovereign government. The self-confidence, wealth, and pride of these farmers was expressed, among other ways, in great church buildings: “Rural Cathedrals.” These include Altenbruch and Otterndorf as well as the Church of St. Jacobi in Lüdingworth. The visitor who enters the elongated nave, topped with a flat ceiling and takes in the vaulted, three-aisled choir, is overwhelmed by the splendor that can hardly be guessed at from the simple construction of the exterior. Numerous works of art from the Middle Ages, the Renaissance and the Baroque impress the eye. In the seventeenth century, Lüdingworth almost had the resources of an urban environment: it employed three pastors, a cantor, and an organist. At the time of construction of the Schnitger organ Petrus Grave served as organist, whose sister was married to the Cantor Daniel Rose and whose wife was the daughter of the first pastor, Master Daniel Langenbeck. The Lüdingworth congregation was able to finance a musical culture that justified the construction of a complex organ. In this environment, it was not unusual that from the marshes on the lower Elbe, there arose excellent musicians who shaped the musical life of this important period of the North German organ culture. Thus, for example the son of the Lüdingworth organist Carsten Grave, became organist at the large Schnitger organ in the Bremen Cathedral in 1734. In the west gallery in Lüdingworth stands the three-manual organ, richly appointed with 35 registers, built by the young organbuilder Arp Schnitger, in cooperation with his Erfurt journeyman Andreas Weber in 1682-83. Schnitger took over the entire pipework from the Brustwerk and Hauptwerk, as well as the windchests of the Brustwerk from the previous organ built by Antonius Wilde (Ottersdorf) in 1598-99 with 20 stops on “Manual, Chest and Pedal.” In 1746 Jacob Albrecht (Lamstedt) exchanged the Schnitger Dulcian 16' in the Rückpositiv for a Vox Humana 8', although he used the Schnitger blocks and shallots. In 1796-98 Georg Wilhelm Wilhelmy (Stade) expanded the range of the pedal by adding a low D sharp and replaced the Cimbelstern which played no distinct pitches, with a “harmonic Glockenspiel” with pitched bells. In the course of the Organ Reform Movement, the Lüdingworth organ, as well as the neighboring Altenbruch organ were centers of attention. In 1930-31 Furtwängler & Hammer carried out repair work. Major changes to the organ first happened during restoration work in 1960-61. Here, the wind pressure was reduced and the cut-ups were lowered by soldering. The windchests were given concussion bellows and the action was rebuilt. The damage caused by these interventions was reversed in 1981-82 through a careful restoration by Jürgen Ahrend. In 1999 meantone temperament was introduced. Since then, the organ in Lüdingworth has once again become one of the most outstanding products of North German organ building. The church and organ together convey a high cultural standard. Rückpositiv Principal 4' 1683/1982 (in facade) Gedackt 8' 1598 Spitzfloit 4' 1683 Octava 4' 1683 Waldfloit 2' 1683 Sifflit 1 1/3' 1683 Sexquialtera II 1683 Terzian II 1683 Scharff IV-VI 1683 Dulcian 16' 1683/1982 Oberwerck Principal 8' 1598 (in facade) Quintadene 16' 1598/1683 Rohrfloit 8' 1598 Octave 4' 1598 Hohlfloit 4' 1598 Nahsat 3' 1598 Octave 2' 1598 Rauschpfeife II 1598/1683 Mixtur V 1598/1683 Zimbel III 1982 Trommette 8' 1598 Brustpositiv Gedacktes 4' 1598 Quintfloit 3' 1598 (treble) Octave 2' 1598/1683 Scharff III 1683 Regal 8' 1598 Pedal Principal 8' 1683 (in facade) Untersatz 16' 1598 Octava 4' 1598 Nachthorn 2' 1982 Rauschpfeife II 1598 Mixtur V 1982 Posaune 16' 1683 Trommett 8' 1598 Cornet 2' 1982 Manual range: CDEFGA - c3 (45 keys, short octave) Pedal range: CD - c1, d1 (25 keys) Couplers: BP/OW Tuning : 1/4 comma Meantone at a1~465 Hz Accessories: Cimbelstern, Vogelgesang