Un plaisir... The Stumm-Organ in Ommersheim

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Un plaisir... The Stumm-Organ in Ommersheim

The Stumm-Organ (1838) in Ommersheim

Christian Brembeck

Partially first recording

Gregor Aichinger (1564-1628)
1 Ricercar III („per sonare et cantare a 4”) 3:27

Master John Tayler († nach 1569)
2 Pavan 1:47
3 Galliard to the Pavan before 1:23

(aus dem „Dublin Virginal Manuscript”)
Georg Friedrich Händel (1685-1759)
Orgelkonzert Nr.13 in F-Dur
(„The Cuckoo and the Nightingale”), HWV 295
4 Larghetto 2:03
5 Allegro 3:22
6 Larghetto 2:58
7 Allegro 3:03

Johann Sebastian Bach (1685-1750)
8 Choralbearbeitung „Das Jesulein soll doch
mein Trost”, BWV 702 1:50

Johann Heinrich Silbermann (1727-1799)
9 „Le Moulinet” (Presto) 2:38
(„Raccolta delle più nuove composizioni di clavicembalo
di differenti maestri ed autori, per l´anno 1757, fatta
stampare dal Sgr. Feder. Guiglielmo Marpurg”)

José António Carlos de Seixas (1704-1742)
10 Fuga para órgão 3:55

Michel Corrette (1709-1795)
11 Grand Choeur avec le tonnerre 2:42
12 Noël provençal 1:26

Alexandre-Pierre-François Boëly (1785-1858)
Trois Préludes sur des Cantiques de Denizot (1847)
13 Réveillez vous pastoureaux 0:58
14 Le vermeil du soleil 1:27
15 Lyre ce n´est pas en ce chant 1:18

Samuel Wesley (1766-1837)
Five Pieces For The Royal Seraphine
16 No. 1 1:48
17 No. 2 1:30
18 No. 3 2:12
19 No. 4 1:23
20 No. 5 2:27

Charles Wesley (1757 - 1834)
„God save the King” with new variations (1798)
21 Thema 1:09
22 Variation 1 1:11
23 Variation 2 1:20
24 Variation 3 2:01

Felix Mendelssohn Bartholdy (1809 - 1847)
Allegro d-moll (datiert 25. Juli 1844)
25 Allegro – Choral – Fuge 6:43

The Stumm-organ from 1838 in the catholic church Mariä Heimsuchung in Ommersheim
(Saar)
In 1838 an organ by the brothers Carl and Franz-Heinrich Stumm, of the famous organbuilding
dynasty from Sulzbach/Hunsrück, was delivered for 2200 fl and set up there –
according to a notice preserved in the organ case – on 10 October of that year. Interesting is
the fact that this organ, with its magnificent oak case distinguished by late-Baroque stylistic
elements and its classical specification, appears to be entirely unaffected by fashionable
early-Romantic influences – traditional working methods were employed in the Stumm
workshop without interruption from 1720 to 1896; then, however, the owners no longer had
the desire follow the then newest developments in organ building, and ultimately gave up
organ making.
There were many different reasons for the decision to record a tonal document on this
instrument. When in 2007, on the occasion of a fortepiano recital in the Ommersheim
church, Christian Brembeck noticed the beautiful organ front and subsequently tried out the
organ, he was visibly enthralled by the organ’s charm and tonal declaration. Thus, it came
about that the artist played his first organ concert there a year later, revealing to the many
astonished listeners the beauty of their organ. Christian Brembeck recalled: „I was intuitively
reminded of many an encounter with Alsatian Silbermann instruments, most of which I
experienced as ‘shadows of themselves,’ that is to say, unrestored. Nevertheless, these
impressions were always influential and unforgettable. Thus, it was a pleasure, ‘un plaisir,’
for me to put together a rich and colorful program to display the tonal possibilities of the
Ommersheim organ. Naturally, many a ‘crossing the line’ is included in the calculation, for
example when for the works of the Renaissance and early-Baroque composers the almost
indispensable mean-tone tuning is lacking – the charm of the Stumm organ entirely makes
up for it.... The well-disposed listener will overhear the out-of-tune mutation stops and the
unintentional ‘beating’ flute sounds, and instead be rewarded with a deeper dimension of
musical statement.“

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