Kevin Clarke : Bach At Palmer

CD [Cover Art for Kevin Clarke / Bach At Palmer] Your Price: $22.89
Availability: In Stock
Sell date: 11/2011
Label: CD Baby
Mfg's Catalog#: 5637859
CDC Part#: 1805268
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 Notes & Reviews
About the Organ: OPUS 99 The organ at Palmer Memorial Episcopal Church, Houston, Texas, was designed and built by C. B. Fisk, Inc., of Gloucester, Massachusetts. Opus 99 of the Fisk firm - a three-manual instrument - has 46 stops totaling 2,976 pipes, housed in a polychromed case. The late Charles Fisk, in consultation with Rice University's Professor of Organ Clyde Holloway, designed the preliminary specification in 1981. The stoplist reflects the many roles a modern American church organ must play: leading hymn singing, accompanying choral music and playing 400 years of organ repertoire with authority. The contract for the organ was signed in 1984 shortly after Charles's death, affirming the church's faith in his successors. The visual and mechanical design of the organ began in early 1989 with a scale model of the rear of the church. Windchests were laid out to determine the physical size of the instrument and scale model pipes made for the Great Prestant 16'. These and other elements were arranged in the space to create an organ that retains it's own identity, yet harmonizes with architect William Ward Wadkins' characterization of the Venetian church on which Palmer was modeled, Santa Maria della Miracoli. The immense Bourdon 32' in the Pedal division required a large rear case. The Great was placed above and in front of the Pedal case, separated by a reflective wall, enabling the Great to speak boldly into the room. The Swell, housed in a large, heavily built box fitted with louvers controlled by the organist, was located above and between the two halves of the Great, with it's pipes arranged from back to front in the nineteenth century French style. This division is most effective next to the ceiling, which the church had wisely agreed to make more acoustically reflective. [Note: This plan to harden the cork ceiling through an application of lacquer or varnish was later abandoned due to the fear of altering it's color and appearance. JP] The Chaire, to aid in it's role as an intimate contrast to the Great, was hung from the balcony railing, close to the congregation. It's ranks are arrayed in a modified 'M' fashion, giving the organist good sight lines to the chancel. The base of the organ case was made small to leave maximum floor space for the choir, and the front corners of the lower case were angled back to let singers and instrumentalists see the organist. The balcony itself was made larger and stronger. From this basic arrangement the visual design of the organ was developed. Guided by historical examples, the pipes of the Prestant 16' were arranged in a series of towers, arches and flats that take their shape from the progression of natural pipe lengths. The key and stop actions were made simple and direct to reduce the distance between musician and music. A mechanical combination action was included to give the organist the ability to bring in large numbers of stops quickly and easily. Pipework for Opus 99 was scaled and made based on the requirements of the liturgy and of the room. The metal was alloyed, cast into sheets, rolled up and soldered at the Fisk shop following historical methods. The pipes were then shop-voiced to bring them to a level from which the voicers could adjust them on-site to the acoustics of the church. Charles Fisk's specification at Palmer Church was eclectic, a careful choice of the most useful stops of the German, French, English and American schools of organ building. The Great, based on the eighteenth century German Hauptwerk that Arp Schnitger would have known, has at it's core the Plenum, or Great Chorus. This consists of the Prestant 16', Octave 8', Octave 4', Superoctave 2' and Mixture, to which the Trommeten 8' is added when yet more fundamental is required. The Spire and Chimney flutes, 8' and 4', are also of German origin. The eighteenth century French reeds at 8' and 4' pitch and the mounted Cornet V provide the fire and varied color necessary for the French classical repertoire. The Fl?te harmonique 8' and Gambe 8', inspired by the nineteenth-century builder Aristide C

Prelude in C Minor, S. 546
Fugue in C Minor, S. 546
Chorale Prelude, Jesu Christus, Unser Heiland, S. 626 (OrgelbuCh
Chorale: SchmuCke Dich, O Liebe Seele
Chorale Prelude, SchmuCke Dich, O Liebe Seele, S. 654 (18 Choral
Prelude in C Major ('9/8') S. 547
Fugue in C Major, S. 547
Chorale: Wer Nun Den Lieben Gott LaSST Walten
Chorale Prelude, Wer Nun Den Lieben Gott LaSST Walten, S. 647 (Sc
Fantasy in G Major, S. 572
Chorale Prelude, Ich Ruf' Zu Dir, Herr Jesu Christ, S. 639 (Orge
Chorale: An WasserfluSsen Babylon
Chorale Prelude, An WasserfluSsen Babylon, S. 653 (18 Chorales)
Chorale: Liebster Jesu, Wir Sind Hier
Chorale Prelude, Liebster Jesu, Wir Sind Hier, S. 634 (OrgelbuCh
Prelude in D Major, S. 532
Fugue in D Major, S. 532
Chorale: Nun Komm' Der Heiden Heiland
Chorale Prelude, Nun Komm' Der Heiden Heiland, S. 659 (18 Choral