SOPP648: On registration of Widor's Toccata

Vidas: Hello and welcome to Secrets of Organ Playing Podcast!

Ausra: This is a show dedicated to helping you become a better organist.

V: We’re your hosts Vidas Pinkevicius...

A: ...and Ausra Motuzaite-Pinkeviciene.

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Vidas: Hi guys!  This is Vidas.

Ausra:  And Ausra.

Vidas: Let’s start episode 648 of Secrets of Organ Playing Podcast. This question was sent by Joe, and he writes: 

“Vidas,

Hope all is well with you. I am making much headway on Widor's Toccata, even though I have had limited time to practice.

The score that I purchased from you certainly has helped expedite the learning process - MUCH THANKS!

Since the score did not include registration suggestions, I was curious if you know of scores that do include registration.

My organ has the following Stops:”

Pedal Organ
Diapason 16'
Bourdon 16'
Quintaten (Sw) 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Mixture iii
Posaune 16'
Trompette (SW) 8'
 
Swell Organ
Quintaten 16'
Gedackt 8'
Violas II 8'
Spitzprinzipal 4'
Koppelflote 4'
Nasat 2-2/3'
Blockflote 2'
Terz 1-3/5'
Mixture III
Basson 16'
Trompette 8'
Clairon 4'
 
Great Organ
Quintaten (Sw) 16'
Principal 8'
Rohrflote 8'
Violas II (Sw) 8'
Octave 4'
Spitzflote 4'
super Octave 2'
Waldflote 2'
Mixture IV
Krummhorn 8'

Vidas: He has three divisions: Pedal, Swell, and Great, and each has around 10 stops, maybe more. He writes further:

“I also have a Floating Division that can be applied to Pedal, Swell, and Great. This includes over 100 stops but cannot be mixed (i.e. only one per Pedal, one for Swell, one for Great).

Please let me know if you have any suggestions for registration based on my Stops List.  If you believe something is missing that is critical, I may have it in my Floating Division.

Your expertise would be greatly appreciated.

Much Thanks,
Joe Mark”

Vidas: Here’s what I wrote to him:

“Thanks Joe!

Unfortunately all Widor marks on the score is FFF, FF, F etc. As I haven't made a video of this piece I can't really demonstrate it for you right now. Since you have only 2 manual instrument, try to experiment with adding or omitting the reeds on both divisions one by one. FFF would be Tutti. FF would be without Clairon, F - without Basson, MF - without Trompette, PP - without Krummhorn. Manuals coupled. Pedals need to be reduced accordingly too.

Hope this helps for now (until I prepare a proper video course).

Vidas”

Vidas: Ausra, what do you think?

Ausra: Yes, I think that’s an adequate proposition.

Vidas: Basically, this organ, obviously, is much too small for Widor’s Toccata, right, for Widor’s Symphony. But, obviously, we have limited resources at home, and people still want to play most famous organ pieces ever written.

Ausra: I think it’s, though, a good size instrument!

Vidas: What we have here in the pedal is three 16’ stops, two 8’ stops, one 4’ stop, Mixture, Posaune, and Tropette taken from the swell division like an extension. On the Swell, we have one Quintaten 16’, then two stops from the 8’ level, two from the 4’ level, Quinte, then Blockflöte 2’, Terz, Mixture, Basson, Trompette, Clairon. That’s the Swell.

And on the Great, we have one 16’ stop, Principle and Rhorflöte, that’s 8’ stops, and then Viola from the second manual—from the Swell, and then Octave and Spitzflöte 4’, super Octave and Waldflötte 2’, Mixture and Krummhorn.

Yeah, every manual seems to have a decent Reed selection, except it’s a little bit strange. Why would you have Krummhorn on the Great without any stronger reeds.

Ausra; Yes, that’s what I was wondering about, too, because it seems like the Swell division everything is fine with it and as well fine with the Pedal, but I guess if he has a floating division, maybe he could add a more powerful Reed to the Great.

Vidas: Exactly. Probably not even a Reed. I would add a 16’ Principal to the Great. I would also add the Trompette 8’, Bombarde 16’, and Clairon 16’. That would work.

Ausra: Yes, I think so, too.

Vidas: Maybe even Chamade if there is one. Right?

Ausra: Sure!

Vidas: But generally, you still need to adjust the dynamic level by omitting some of the loudest Reed, and maybe Swell pedals if you have one.

Ausra: Yes, I guess the Swell pedal might be a great help in playing French music in general.

Vidas: Correct. Swell should be very dynamic and open very wide in Cavaile-Coll's organs. And so, if you can imitate that on your instrument, that’s very good. Wouldn’t it be nice, Ausra, to hear a recording or a video of this piece by Joe?

Ausra: Yes, it would be very interesting.

Vidas: So, if you master this piece, Joe, or even if you haven’t mastered it but are just practicing it, go ahead and upload your practice to YouTube and send us a link; we could share it with our subscribers, too.

Ausra: Yes, it would be really interesting to know how the things are going.

Vidas: And what kind of sound we are talking about. You know, maybe we are theoretically only imagining based on specification, but when you have a real instrument it might be a little bit different, or it might be a lot different sound.

Ausra: Yes, because the voicing of the all the pipes might be various from one instrument to another one, and then if it’s an electric instrument, the…

Vidas: ...touch?

Ausra: Not touch, but I’m talking about sound; we don’t know how loud it might get or how soft it is.

Vidas: Right, because you have the speakers.

Ausra: Sure.

Vidas: Internal speakers or external speakers, and how many speakers you have, and how… it depends. Okay guys, we hope this was useful to you. Please send us more of your questions; we love helping you grow. And remember, when you practice,

Ausra: Miracles happen.

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