The Armley Schulze
Hauptwerk v4 Virtual Organ

© Lavender Audio 2008 - 2017

 

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DEMOS

All of these demonstrations have been recorded using Hauptwerk’s in built recorder with no external processing applied. Three separate perspectives are presented:

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1. Chancel samples only (this is the sound provided by the single channel set)
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2. Nave samples only
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3. A combination of truncated Chancel samples, blended with Nave and Surround channels. The Chancel truncation is set to simulated dry, long decay, (2'C @ 250ms) and the Chancel:Nave:Surround volume balance is 110:80:64 (this volume adjustment is made using the master faders on the Settings screen)
Vom Himmel Hoch ~ Sigfrid Karg-Elert.
A quiet start, showcasing the Great Hohl Flöte 8, accompanied by Swell strings and 4ft Flauto Traverso. This is then contrasted with the Choir flutes with Tremulant added. From the half-way point, there is a build up from quiet Swell 16+8+4 to full organ.

Freu Dich Sehr, O meine Seele ~ Sigfrid Karg-Elert.
Various Swell combinations are heard, including strings and 8 and 4 foot flutes. The Choir Clarinette finishes the piece.

Nun Danket Alle Gott ~ Sigfrid Karg-Elert.
The brilliance of the Great Mixtur plays a prominent part in this well known piece.

Gott des Himmels und der Erden ~ Sigfrid Karg-Elert.
A showcase for the Swell Oboe, coupled variously to the Great Gedact and Choir flutes.

Choral No.3 - Cèsar Franck.
The Swell Horn is a prominent chorus reed in the early chorale-like passages, contrasting with Swell 8+4 principals coupled to the Choir flutes in the quicker sections. At 4’25” the solo melody is taken by the Swell Oboe and Gamba, accompanied by the two Choir 8 foot flues. Then, at 6’15 the Swell Gamba and Celeste are heard in partnership with the Great Hohl Flöte 8. This then builds to a climax involving all stops apart from the Great Mixtur.

Sonata IV, Andante religioso and Allegretto ~ Felix Mendelssohn.
The Andante offers another chance to enjoy the Swell, Great and Choir softer 8 foot colours in various combinations. The Allegretto features the uncoupled Great Gedact in the semi-quaver line, accompanying firstly the Choir Clarinette and then the Swell Oboe and Gamba in combination. Finally, at 2’17” the Choir Harmonica and Lieblich Gedact are heard.

Trumpet Tune ~ John Stanley.
This demo makes use of the Enhanced set additions by boosting the volume and brightening the tone of the Trompete on the Choir. For the accompaniment, the Swell 8 ft Flauto Traverso and 4ft Octave are coupled to the Great 8+4 ft Principals an octave higher to give a 2 foot effect. As is often the case with this organ, Great to Pedal is not required: a good pedal line is obtained with the Violon 16, Subbass 16, Octave 8 and Bass Flöte 8 along with Swell to Pedal.
32 STOP SAMPLE SET DEMOS

For each recording the Enhanced sample set has been used, although the enhancements (eg octave couplers) used only sparingly. The divisional levels (ie Great, Swell, Choir and Pedal) have been kept at the default 0dB throughout.

CHANCEL SAMPLES

NAVE SAMPLES

CHANCEL/NAVE/SURROUND BLEND

Lossless wma audio files (zipped folder - 273MB)

Lossless wma audio files (zipped folder - 270MB)

Lossless wma audio files (zipped folder - 276MB)

57 STOP SAMPLE SET DEMOS
These demos have been kindly provided by Agnus Dei, who will be known to many as a prolific and very able contributor to www.contrebombarde.com.

All pieces feature the standard 57 stop Armley Schulze sample set, without any of the non-original enhancements. Most of the recordings feature a blend of Nave and Surround positions to give more “space” to the organ sound.

The first player features a variety of pieces by the London-based English composer Alec Rowley, who was active during the early and middle part of the 20th century. His Triptych is an extended work with three distinct sections - a chorale-like Ritornello, the tender Cradle Song (from 3’12”) and a brilliant Epilogue (7’12”), which has elements of the toccata and fanfare about it. Most of the remaining pieces are from Rowley’s set of Nine Hymn-Tune Voluntaries and each has been chosen to display a different facet of the Armley organ.

William Thomas Best was a prolific organist in Victorian Britain and became the first civic organist at Liverpool’s St George’s Hall when the mighty Willis there was completed in 1855. Although a noted arranger of orchestral pieces for organ, his original compositions for the instrument are also of quality, as the English Psalm Tune Preludes demonstrate.

The final player features other varied compositions. Arthur Vanden Plas was a Belgian organist based in Brussels. His Entrée Pontificale (1) comes from a publisher based in Arras, France and is dedicated to an organ professor at the Brussels Conservatoire. Hungarian composer Zoltán Kodály wrote his setting of the Pange Lingua (2) for SATB choir and organ in 1931 - the music featured here is the prelude to this motet and is predominantly quiet and devotional in nature. In contrast, Frederick Candlyn’s Toccata on Neander (3) (the tune usually used for the hymn “Come Ye Faithful Raise The Anthem”) shows the more powerful side of the Armley Schulze. This recording also blends in the more direct sounding Chancel recording position.
Two works by Josef Rheinberger follow - Gondoliera (4) is a piano transcription and Vision (5) is one of the set of 12 Characteristic Pieces dating from 1888. American Anglo-Catholic composer Everett Titcomb plied his trade in Boston during the 20th century, composing music suitable for the Catholic liturgy. His Three Short Pieces (6 -8) have ancient influences, being based on the Gregorian Ave Maris Stella and two melodies written by Louis Bourgeois. Sydney Watson was a contemporary of Titcomb, but on the other side of the pond. The Pastorale dates from the start of his time as organist at Christ Church Cathedral in Oxford.
John Stanley’s Voluntary in C (10) demonstrates that with a little care, music from an earlier era can be made to work on the Armley Schulze, especially if a little imagination is exercised around playing lines an octave higher! Two pieces by German composers then follow - Hepworth has set Variations on “O Sanctissima” (11) - known in the English speaking world as “O Most Holy”. Otto Dienel spent his life in Berlin and his compositions are reminiscent of Mendelssohn. His Andante in C (12) was dedicated to Alexandre Guilmant. Finally, two pieces (13 and 14) by Dr. J. Varley Roberts, who was organist of St Bartholomew Armley in the years before the Schulze organ was installed there. More Mendelssohn influence here and another organist who ended up at Oxford University.

Lossless wma audio files (zipped folder - 84MB)

Lossless wma audio files (zipped folder - 75MB)

Lossless wma audio files (zipped folder - 244MB)