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Much keyboard music of the Late-Medieval and Renaissance was often played interchangeably on organ, harpsichord, clavichord and the like, with the exception of liturgical music (Mass, Magnificat and Latin hymns versets, chorale settings, etc.) which are thought to have been played primarily on the organ.
The organ's suitability for improvisation by a single performer is well adapted to this liturgical role and has allowed many blind organists to achieve fame; it also accounts for the relatively late emergence of written compositions for the instrument in the Renaissance.
The musical instrument known as the regal or regalle (from Middle French régale [1]) is a small portable organ, furnished with beating reeds and having two bellows. [2] The instrument enjoyed its greatest popularity during the Renaissance.
The precious late Renaissance Organ in Osteel, which is one of the best-preserved Renaissance organs in northern Germany, [15] also comes from a German-Dutch organ builder: Edo Evers from Groningen. Evers used pipes and parts of the case from the old Andreas de Mare organ (1566-67) of the Ludgeri Church in Norden for his work from 1619.
There survive nine plainsong settings, one hexachord, and three voluntaries for double organ in a Christ Church autograph MS, among others Vincenzo Ugolini: 1580 – 1638 Italian Johannes Hieronymus Kapsberger: 1580 – 1651 German Adreana Basile: c. 1580 – c. 1640: Italian Michael East: c. 1580 – 1648 English Probably the son of Thomas East
Jan Pieterszoon Sweelinck (/ ˈ j ɑː n ˈ p iː t ər s oʊ n ˈ s w eɪ l ɪ ŋ k / YAHN PEE-tər-sohn SWAY-link; [1] April or May, 1562 – 16 October 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras.
In music, the organ is a keyboard instrument of one or more pipe divisions or other means (generally woodwind or electric) for producing tones. The organs have usually two or three, up to five, manuals for playing with the hands and a pedalboard for playing with the feet. With the use of registers, several groups of pipes can be connected to ...
An unknown organ builder (possibly the young Andreas de Mare) extended the instrument in 1542 in the style of the Renaissance (the year is inscribed on the case-work); by then the organ had three manual departments. The manual compass (as typical for the time) was F,G,A-g2,a2 and the pitch was 1 1⁄2 tones above Schnitger's pitch.