Manneke – O nostre Dieu et Seigneur amiable

Gerber Budding(1987) is internationaal actief als concertorganist en kerkmusicus. Hij is hooforganist van
de Goudse Sint-Janskerk en bespeelt daar het prachtige Moreau-orgel uit 1736. In Gouda is hij tevens door
de gemeente aangesteld als stadsorganist. Als vesperorganist is hij daarnaast verbonden aan de Utrechtse
Domkerk met het beroemde Bätz-orgel uit 1831.
Zijn brede repertoire omvat alle stijlperioden. Dit resulteert in een doordachte en verrassende programmering
tijdens concerten. Budding is een enthousiaste promotor van Nederlandse orgelmuziek. Niet alleen
geeft hij veel aandacht aan moderne Nederlandse orgelmuziek, maar ook haalt hij hierbij vergeten Hollandse
meesters onder het stof vandaan. In dit kader had hij een wereldprimeur met de eerste integrale CD-opname
(9 CD’s) van de orgelwerken van Samuel de Lange jr., een opname die lovend werd ontvangen.
Zijn opleiding ontving hij aan het Utrechtse conservatorium. Daar behaalde hij een Bachelor- en Mastergraad
Orgel met Improvisatie (beide summa cum laude), een eerstegraads bevoegdheid als Kerkmusicus en een
Bachelor- en Mastergraad Koordirectie (met onderscheiding).
Hij won de eerste prijs op het internationale orgelconcours ‘Agati-Tronci’ in Pistoia (Italië), de tweede prijs op
het Internationaal Schnitgerconcours in Alkmaar, de Litaize-prijs op het Internationaal César Franck Concours
in Haarlem en de publieksprijs op het improvisatieconcours in Dudelange (Luxemburg).
www.gerbenbudding.nl

Foto's Grote kerk Gorinchem: Pim van de Beek

Opnamedata en opnamelocatie: 27-09-17 en 25-09-19 - Grote Kerk Gorinchem

Opname: PDR records (Pieter de Ruijter en Gideon van Daalen)

Nederlands Dagblad "onder de handen van Budding komt het orgel tot leven. Mede door zijn spel is deze cd het beluisteren meer dan waard."

RD (Piet van de Wege) "De muziek van Manneke is interessant en genietbaar, maar ook wat crebraal en willekeurig'

Lees hier de volledige recensie https://www.rd.nl/muziek/gedraaid/recensie-gerben-budding-speelt-manneke-1.1638015

De Orgelvriend (Lex Gunnink) "Het is echt een parel, deze cd, en dat in alle opzichten. Schaf hem aan, luister, ga met Budding en Manneke op avontuur en verwonder u. Deze cd gaat u koesteren.

Kerkmuziek "Hij heeft zich ontwikkeld tot één van de top-organiseren in ons land. Lees hier de recensie van Maarten Seijbel.

Orgelnieuws "De cd is smaakvol (in stijl) uitgegeven en is weer een volgende interessante productie van Diamondline. Budding is zeer getalenteerd, heeft een geweldige techniek en een groot invoelingsvermogen. Lees hier de recensie van orgelnieuws.nl

Preface
‘O nostre Dieu et Seigneur amiable’, Pseaume 8
Composer Daan Manneke and organist Gerben Budding first met in 2015 for the premiere of Manneke's 'Abendmusik' for choir, soloists and organ (a work in which 'Te lucis ante terminum' plays an important role) and the performance of 'Tombeau pour Ton de Leeuw' for cello and organ in the Augustijnenkerk in Dordrecht.
In 2017 they followed up with a performance of the organ piece 'Le Bouquet' in the Maartenskerk in Zaltbommel.
On the occasion of this concert, the composer and organist decided to explore the work extensively at the manual of the Bätz-Witte organ of the Grote Kerk in Gorinchem.
Budding was organist here for nine years and felt that the organ was almost an extension of his body.
Both the composer and organist came together in a mutual love of the Geneva Psalter and their fascination with timbre. The eventual the result was this CD.
The first recordings on this CD date from 2017. All other recordings took place in 2019.
It goes without saying that this CD had to be released in 2019, the year in which the composer celebrated his eightieth birthday.

Explanation of the compositions
It is an interesting fact in the Western music history that many composers, in addition to their large works, have composed small pieces which are certainly worth listening to. From Johann Sebastian Bach (1685-1750) we know for instance his Notenbüchlein für Anna Magdalena Bach, while the church musician Hugo Distler who died young(1908-1942) composed on the frail house organ the inspired Stücke für die Kleinorgel opus 18.. Composing on this intimate scale has as an added advantage that enthusiastic amateurs can master such works – and thus become familiar with the composer’s nature and character.

This intimate scale can be found as well in the many Psalm compositions that the Dutch composer Daan Manneke (b. 1939) wrote over the years and are inspired by the most important heritage of the Reformation tradition: the Geneva Psalter. Meanwhile, Daan Manneke's compositions are internationally appreciated and performed, and he has been awarded a number of important prizes and distinctions for his oeuvre. Daan Manneke's celebratory year in 2019 was graced with numerous performances, lectures, workshops  and a symposium. It also gave the reason for the production of this CD.
Another interesting fact is the captivating role that some performing musicians throughout history have played in a composer’s work. Take, for instance, Karl Straube for Max Reger, and Yvonne Loriod-Olivier for Olivier Messiaen (Yvonne was married to Messiaen). Benjamin Britten too worked closely with his life companion Peter Pears, in, among other things, his operas, song cycles and other (religiously tinged) compositions. This is no different for Daan Manneke, who in 1980 began a close relationship with organist Jos van der Kooy (b.1951). Thanks to the great dedication with which van der Kooy defended them, Manneke's often very demanding organ works have become widely known. Van der Kooy was actively involved in symposia and recorded a considerable number of works on CD. In addition van der Kooy gave the composer several composition commissions, thus putting Manneke's oeuvre for organ widely on the map.
The intimate scale of a small composition, the Geneva Psalter, and the sometimes-special relationship between composer and performing musician come together on this CD on which organist Gerben Budding has recorded an impressive number of Psalm-related compositions by Daan Manneke. The Bätz-Witte organ from 1853 is a sturdy sounding three-manual organ with many pipes dating from 1761. According to van der Kooy, it is one of the most beautiful instruments in our country.

This CD is a small sample from Manneke's oeuvre for organ, embedded in two short compositions both based on the evening hymn 'Te lucis ante terminum'.
Listening to the Vijf Versetten (1962/3) we hear a traditional but  skillfully written variation work that still breathes the neo-baroque spirit of those years. Ordre (2018) was based on the same hymn: a 'Petite Hommage à Marin Marais', the master of variation. The piece was deliberately written in traditional style but with a mature refinement. Each variation is registered with different reeds, which results in a remarkably attractive recording. Gerben Budding's refined technique and the original registrations make this small work a pleasant sparkling listening experience.

Daan Manneke composed Evocazione SwWV 258 (2019)  for a commission  from Jos van der Kooy in tribute to Jan Pieterszoon Sweelinck (1562-1621). The last measure of this work ends with the beginning of Sweelinck's Fantasia Cromatica, SwWV 258. According to the composer, this short work has a kaleidoscopic character and uses elements from Sweelinck's Fantasia, the Geneva Psalter 8, and the song Mein junges Leben hat ein End.
Le Bouquet, concert pour orgue (2016), was also composed  for a commission of Jos van der Kooy and is a monumental psalm concert dedicated to him. The psalm melodies and settings included in the original composition should be performed ad libitum by voices, but in this recording they are played on the organ with highly original timbres. In Movement I, Toccata ostinato, based on Pseaume 8, the listener is overwhelmed immediately by repetitive signals, percussive pedal clusters and swirling scale passages. Movement II, Pseaume 116, Canto, is a soothing, serene contrast to Movement I. It is followed by the beautifully linear Movement III, Duo, Pseaume 17, which concludes with a subtle harmonic setting. The resounding  quasi-improvisatory Toccata, Movement IV, Pseaume 122, concludes with a striking two-part melody setting played on the pedal. The tranquil Sarabande and the solidly built Canon sostenuto form the basis for movement V, Pseaume 65. Pseaume 138, movement VI, a joyous Toccata quasi Fantasia, is concluded with the Canzone based on Pseaume 8 and forms a retrospect to movement I. This emphasizes the melodic relationship between Pseaume 8 and Pseaume 138 and closes the circle.
In 1992 Uitgeverij Boekencentrum B.V. published the book 'Koraalbewerkingen over de 150 Psalmen' (‘Coral arrangement for the 150 Psalms’). Daan Manneke was also given an commission to compose arrangements. This CD contains six of these arrangements. Psalms 10 and 55 in particular excel by great simplicity and a hugely refined melody.
In general it can be said that a composer like Daan Manneke understands precisely the limits of his rich idiom for both enthusiastic amateurs and professional organists. In spite of his brutally-whimsical manner in Le Bouquet (especially in the toccatas) for instance, he still respects the modal atmosphere of church music, which exudes a Psalm melody. Sometimes he is not ashamed to go to extremes in terms of structural simplicity and stillness. It is not without reason that he is called the 'Sweelinck of the 20th century'.

Kees Weggelaar

Description of the registrations
The registrations used were chosen in close consultation with the composer. Organist and composer have been fascinated for years by the great wealth of timbre of the Bätz-Witte organ. The combination of the pipes by Stephanus Cousijns (1666), Johann Heinrich Hartmann Bätz (1761), Christian Gottlieb Friedrich Witte (1853), Bas Blank (1960) and Pels en Van Leeuwen (2002, 2008 and 2011) give the organ a fascinating character. The acoustics of the Grote Kerk of Gorinchem work together optimally and invite you to choose stops and to make music in an adventurous way.
Ordre
In the first variation we hear the Bassoon 16' of the principal work opposite the Dulcian 8' of the chair organ, completed with some labials.
In the second variation the Dulcian 8' of the chair organ can be heard. This is the only pipe work from 1960 still present in the organ.
In the third variation the organist chose to play the main melody with the pedal with the powerful Trumpet 4' (of the second pedal drawer of Pels and Van Leeuwen from 2002). This stop was on his recommendation re-voiced by Pels and Van Leeuwen in 2016. The left hand sounds on the base of 16' (Bassoon), while at the right hand the Shawm 8' of the Oberwerk (Witte, 1853) sounds.
The fourth variation uses the Vox Humana 8' of the Oberwerk (partly from 1761) in combination with the Forest Flute 2' (partly by Cousijns) of the Bovenwerk. The highly effective swell box facilitates the prescribed piano forte in a flexible way.
In the final variation we again hear a registration with a leading role for the reeds of the principal work: Bassoon 16’, Vox Humana 8’ and Shawm 8’ sound together here, combined with ground voices.
Pseaume 74
This quiet arrangement comes to life with the strings and flutes of the organ: Viola 1853’ (Witte, 1853), Quintadene 8’ (Bätz, 1761) opposite to Fluit Travers 8’ (Pels and Van Leeuwen 2011, as exemplified by the Witte organ from Naarden).

Pseaume 110
In this powerful arrangement we hear the reeds of the principal work opposite the Shawm 8' of the Oberwerk. At the end we hear the ground voices in combination with the Dulcian 8' of the chair organ.
Pseaume 8
Toccata ostinato:
In the left hand we hear the Oberwerk, which is linked to the principal work with an 8' plenum (incl. 8' tongues and the carillon that was added by Pels en Van Leeuwen in 2008) opposite the plenum of the chair organ (incl. Trumpet 8' and Cornet from Witte, 1853). The pedal sounds the ground voices of the pedal and the Trumpet 16' (Witte, 1853) by way of percussion.
Toccata e Cantus Firmus:
The aforementioned plenum of the chair organ opposite the cantus from the pedal with among others the Trombone 8' (Witte, 1853) and the Trumpet 4'.
Psalm:
Chair organ, Prestant 8', Octave 4', Quint 3', Octave 2' and Dulcian 8' with the Bassoon 16' of the principal work in the bass.
Fantasia:
We hear the principal work and chair organ plenum (on an 8’ basis) opposite the ground voices of the pedal (with pedal couples). After a crescendo we hear a solo for the Fagot 16' in the left hand, followed by a diminuendo.
Pseaume 116
Canto:
We hear the soft reeds of chair organ and Oberwerk, while from the pedal the Trumpet 4’ can be heard.

Psalm:
Vox Humana 8' in closed swell box.
Pseaume 17
Duo:
We hear the Quintadene 8', Viola 8', Flute 4' and Forest Fluit 2' of the Oberwerk opposite Hohlflute 8' and Flute 4' of the chair organ.
Psalm:
Opposite the soft sounds of the Oberwerk the melody of the pedal sounds with the Octave 4' (White, 1853).
Pseaume 122
Toccata:
Coupled tutti from the principal work and Oberwerk. In the last measures the chair organ and pedal are added.
Psalm:
The original manualiter intended Psalm sounds here in a special version for double pedal, in order to be able to hear the spectacular reeds of the pedal (Posaune 16', Trombone 8' and Trumpet 4').
Pseaume 65
Quasi Sarabande:
Soft 8’ pipes from Oberwerk and chair organ with a small roller for the Vox Humana 8'.
Psalm:
Strings (with Quintadene 8') from Oberwerk and chair organ
Canon sostenuto:
Grand jeu (ground voices with Trumpet 8' and Cornet V) of the principal work and chair organ with among others the Posaune 16' (White, 1853) on the pedal.
Pseaume 138
Toccata:
After the tutti of principal work, chair organ and pedal, shepherd's music sounds on the Oberwerk with the Shawm 8' in the swelling box, followed by an increasing melody.

Psalm:
As cantus firmus we hear the Carillon and the Shawm 8’, supplemented with ground voices opposite the Dulcian 8' with ground voices of the chair organ.
Evocazione
The tremolos early in this work sound on principal work and Oberwerk with Night horn 4' (principal work) and Flute 4' with Nasard 3' (Oberwerk), with the Octave 2' of the chair organ in the pedal.
After that, the following timbres pass in succession:
•    Oberwerk: Beard Pipe 8’, Chimney Flute 4’, Nasard 3’ and Forest Flute 2’ opposite Bassoon 16’ of the principal organ.
•    Vox Humana 8’ with Beard Pipe 8’, Chimney Flute 4’ and Nasard 3’ (Oberwerk) opposite Dulcian 8’ (chair organ) with ground voices.
•    Vox Humana 8' in closed swell box.
•    Vox Humana 8’ with Carillon (Oberwerk) opposite Dulcian 8’ (chair organ) with ground voices.
•    Closing tremolos on principal work and chair organ with both Flutes 4' and the Quinten 3'.
Quodlibet:
•    Chair organ: Prestant 8', Octave 4', Quint 3', Octave 2' and Dulcian 8'.
•    Chair organ: 8’ Mixture plenum.
•    Tutti from Oberwerk (gradually closed swell box).
•    Quintadene 8’ (Oberwerk) opposite Prestant 8’ (Witte, 1853) from chair organ.
•    Composition with Flute 1853’ (Witte, 1853) from chair organ and Vox Humana 8’ from Oberwerk.
•    Ending with Prestant 8’ from chair organ.
Toccata
•    Plenum of 8’ from principal work and chair organ with tutti from pedal.
Jan Pieterszoon Sweelinck (1562-1621)
Fantasia Cromatica, SwWV 285
•    Diminuendo to Prestants 8’ from principal work/Oberwerk with Quintadene 8’.
•    Plenum from chair organ with ground voices and Trumpet 4’ from pedal.
•    Beard Pipe 8’ and Forest Flute 2’ from Oberwerk.
•    Plenum from principal work (8’ basis).

Pseaume 20
Prestants from Oberwerk (with Nasard 3’) and chair organ (with Flute Travers 8’ and Tremulant). Ground voices from pedal and coupling of pedal with principal work.
Pseaume 55
Vox Humana 8’ (Oberwerk) opposite Dulcian 8’ (chair organ).

Psaume 10
Principal Work: Gemshorn 4’
Oberwerk: Beard Pipe 8’ (Bätz, 1761) Chair organ: Flute Travers 8’
Pedal: Gedackt 8’ (Pels and Van Leeuwen, 2002)
Pseaume 100
8’ plenum with reeds, three coupled manuals, ground voices from the pedal and couples. In the last measures Posaune 16’.

Vijf Versetten
Antinenne
Oberwerk: Beard Pipe 8’, Quintadene 8’, Chimney Flute 4’, Nasard 3’ and Vox Humana 8’
Chair organ: Flute 4’ and Quint 3’ with Tremulant
Duo:
Oberwerk: Beard Pipe 8’, Chimney Flute 4’ and Nasard 3’
Chair organ: Prestant 8’
Trio:
Chair organ: Hohlflute 8’, Flute 4’ and Octave 2’
Pedal: Trumpet 4’ with Octave 4’.
Allegro con fuoco:
Plenum (8’) from principal work. Later Trumpet 8’ and Cornet V are added.
Lontano:
Principal work: Chimney Flute 8’
Chair organ: Flute 4’
Pedal: Sub Bass 16’ (Witte, 1853)

Jan Pieterszoon Sweelinck
Sweelinck was born in May 1562 in Deventer, where his father was organist. In 1564 his father was appointed as organist at the Oude Kerk in Amsterdam. In 1577 Sweelinck succeeded his father, who died in 1573, in that position. As an organist and composer he gained great international fame. Numerous students from the Netherlands and Germany went to Amsterdam to attend his lessons. Among them were Jacob and Johann Praetorius, Samuel Scheidt and Heinrich Scheidemann. Sweelinck was therefore called the ‘producer of Hamburg organists’.
The four- to eight-part arrangements in four books of all 150 psalms of the Geneva Psalter are certainly an absolute highlight in Sweelinck’s extensive oeuvre. They form an unparalleled vocal monument.
Harry van der Kamp recorded Sweelinck's complete vocal work for the first time in history on the CD by the Gesualdo Consort Amsterdam.
www.geheugenvannederland.nl

The organ
The Bätz-Witte organ of the Grote Kerk in Gorinchem was inaugurated in September 1853 with a concert by, among others, J.A. van Eijken and D.H. Dijkhuizen.
This organ, of which the first design dates from 1851, is the first three-manual organ with a back positive that was built by C.G.F. Witte.
It was also his first design with a so-called 'round arch style'. The front was inspired by a design for a new organ in the Zuiderkerk in Rotterdam (1850). The three statues on the main cabinet were made by the Utrecht sculptor Joannes Rijnbout.
As mentioned above, Witte used for this organ many pipes from the organ that Johann Heinrich Hartmann Bätz built in 1761. The latter in turn had used pipework made by Stephanus Cousijns in 1666.
The pipework of the principal work and Oberwerk can largely be dated to 1761.

The reeds of the principal work and Oberwerk have cups, heads and struts from 1761. The organ was among others cleaned and repaired in 1872 (C.G.F. Witte), 1885 (J.F. Witte) and 1899 (L. van Dam en Zn.). In 1912 Steenkuijl & Recourt worked on the instrument. The company installed a wind turbine in 1921 and removed two of the six chip bellows. From 1954 to 1960 J.C. Sanders & Zn. and K.B. Blank performed a thorough restoration. The wind supply and the pedal manual were changed, and new stop knobs were fitted.

From 1980 to 1990 the firm Gebr. Van Vulpen carried out a phased restoration. In 2002 the firm Pels en Van Leeuwen added the stops Gedackt 8′, Rohrquinte 6′ and Trumpet 4′ to the pedal on a drawer, separate from the original pedal drawer.
In the autumn of 2007 a start was made on the restoration plan that had been drawn up a few years earlier by the National Organ Advisor, Jan Bonefaas and Ton van Eck. At the same time as the restoration of the Oberwerk, a swell case was installed, which produced a more stylistic performance of the organ repertoire dating from the second half of the 19th century. This work was also performed by Pels en Van Leeuwen.
In April 2010, a complete restoration of the instrument was started by the firm Pels en Van Leeuwen. Ton van Eck acted as an advisor. First of all, the necessary technical repairs were made to the windchests and the register mechanism, as the climatic influences of recent decades had caused damage.
The changes from 1960, now considered undesirable, were reversed and the organ regained its original arrangement on the understanding that, after consultation with the advisor of the Cultural Heritage Agency, the added edging was maintained.
Witte's original pipes were however returned to their original position.
On the edging of the Oberwerk, instead of the Neo-Baroque Sharp which was added by Blank, there was a Carillon modelled on the Bätz organ in the Dom Church in Utrecht. The Flute Travers 8' by Witte, which disappeared in 1960 in favour of a Sesquialtera, returned to the chair organ as a reconstruction of the same-named stop of the Witte organ of the Grote Kerk in Naarden. The Sesquialtera of the main manual disappeared in favour of the originally Sharp by White. The composition of the Mixture of the main manual was reconstructed according to the way it was in 1853 (16' base).
Also on the Oberwerk a copy of the original Tremulant was added, while the connection between the stop button and the still present bell for the bellow operators (calcant) was restored.
Equally important for the overall sound is that the increased and differentiated wind pressures have been brought back to their original values. The increase in wind pressure for the organ in the 1960s seriously affected the tone formation – and thus the sound of the organ. As mentioned above, Witte used for this organ many pipes from the organ that Johann Heinrich Hartmann Bätz built in 1761. That classical addition to the sound can now be heard much better than before the restoration.
Thanks to the combination of 18th and 19th century pipework it is now possible to adequately perform a large part of the organ repertoire. The presence of strong descant stops and a wide 16-foot plenum make the organ an ideal instrument for accompanying congregational singing.
The re-inauguration took place on Saturday 4 February 2012 in the presence of Hans-Joachim Witte, a great-grandson of organ builder C.G.F. Witte.

Configuration
Pipe work 1853 (C.G.F. Witte), unless stated otherwise; pipe work dating from 1761 (J.H.H. Bätz) can sometimes contain pipe work from 1666 (S. Cousijns).