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Ton Koopman
Iberian Organ Music



1CD | CC72320 | 0608917232028

  • Antonio Correa Braga [1] Batalha de 6° Tom 5:18
  • Pablo Bruna (1611-1679) [2] Tiento sobre la letania de la Virgen 6:33
  • António Carreira (born after 1520-died before 1597) [3] Canção a quatro glosada  4:14
  • Anonimo (J. Cabanilles?) [4] Tiento lleno 2° tono 4:18
  • Juan Cabanilles (1644-1712) [5] Corrente Italiana  3:52
  • Anonimo [6] Batalha Famoza  9:37
  • Manuel Rodrigues Coelho (c. 1555-c. 1635) [7] No. 1 of 4 Susanas, or Tentos upon “Suzanne un jour”  6:04
  • Castellana (J. Cabanilles?) [8] Obra de 8° Tom de dous tiples  6:40
  • Carlos de Seixas (1704-1742) [9] Sonata Dó maior  3:39
  • Anonimo (J. Cabanilles?) [10] Ligaduras de 3° tono - para la Elevación 5:06
  • Francisco Correa de Arauxo (1584-1654) [11] Todo el mundo en general  4:21
  • Pedro de Araújo [12] Consonâncias de 1° Tom  3:44
  • Luis Coutinho [13] Obra de 1° Tom  7:21
  • Pedro de Araújo [14] Batalha famosa 5:48
  • totale duur 76:43

    Ton Koopman op het Spaanse orgel (Patrick Collon) van de kerk van St. Lambert in Woluwé-Saint-Lambert (B)

    Ton Koopman at the Spanish organ (Patrick Collon, 1985) of the Church of Saint Lambert in Woluwé-Saint-Lambert (Belgium)

    Spanish and Portuguese organs are celebrated for their excellent trumpets (en chamade), but their splendid flutes, prestants, cornets and reeds are less widely known. Their characteristic tone-colors, so different from that of the North German organ, is as inspirational as it is necessary for performing the Iberian repertoire. This is particularly true with regard to the batalha genre. From the second half of the 17th century, organists in Spain and Portugal delighted in recreating the sounds of the battlefield on their instruments. These many battles, improvised or played from manuscript, were effectfilled, loud and clearly articulated. Many of these pieces have survived, though, unfortunately, they are often anonymous. The directness of the trumpet-en-chamade is such a pleasure. These trumpets (boldly horizontal protruding from the organ front) are so loud that any rustling in the church immediately falls silent. The batalha has a simple harmonic structure; its interest lies principally in the stirring rhythm. The musical battle genre of composition, incidentally, was practiced throughout Europe. This CD presents three batalhas: one anonymous, one by Pedro de Araujo, and one by Antonio Correa Braga. The other pieces form a selection of works by representative Iberian 16th century composers.
    The organ in the Church of Saint-Lambert in Woluwé-Saint-Lambert (a suburb of Brussels) was built in the Spanish style by Patrick Collon in 1985. Its design was largely inspired by Spanish instruments of the XVIIth and XVIIIth centuries. In the course of the XVIth century Spanish organbuilding underwent a radical change due to the influence of Flemish organbuilders and musicians. Conversely, in the XVIIth century, Flemish organmusic was considerably influenced by contact with Spain. The organ in Saint-Lambert is not a strict copy, but an instrument built in the Spanish style, with Flemish influences, and speaking with a slight Brussels accent.

    The magnitude is modest, but it has a wide variety of registers, including colorful prestants and flutes, and a powerful trumpet and chamade. Koopman is right: it sounds wonderful! Wdj - TOM - January 2010

    Recente releases

    Bach Complete Cantatas

    Bach Single Volume Cantatas

    Buxtehude Complete Works

    Overige Opnamen

    Speciale aanbieding


    13 Obra de 1e tom
    14 Batalha famosa
    12 Consonancias de 1e tom
    11 Todo el mundo en general
    10 Ligaduras de 3e tono - para la elevación
    Obra de 8e tom de dous tiples
    Sonata Dó maior
    Corrente Italiana
    Batalha famoza
    4 Susanas: no.1, or tentos upon Suzanne un jour
    Teinto lleno 2e tono
    Tiento sobre la letania de la virgen
    Cancao a quatro glosada
    Batalha de 6e tom
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    1CD | CC 72265
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    and other Italian cantatas

    Ton Koopman & ABO