Video

Willem van Twillert

I am a Dutch professional organist, trained by Piet Kee at the Amsterdam Conservatory in the 1970s.
Most of the recordings for YouTube are made by skilled engineers like Marien Stouten for AUDIO and Herman Logtenberg and Sonja Koopal for FILM.
I like all styles in organ literature and then choose a top organ, often historical in the Netherlands.
We also pay attention to the acoustics of the church building.
We as a recording team are passionate about finding that perfect immersive organ sound. It is our aim to place you right in the middle of the action so you can close your eyes and imagine being in the presence of the organ that I am playing.
I work as an organist at Johanneskerk - Amersfoort as well as a freelance musician and composer.
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Willem van Twillert
#willemvantwillertromanticorganmusic #willemvantwillerthisarrangements TEKST [eerste vier regels] “Chloris, als het echt waar is dat je van me houdt kan ik niet geloven dat er koningen op aarde zijn die een even groot geluk kennen.” REYNALDO HAHN Eind 20e eeuw kwam er hernieuwde belangstelling voor Reynaldo Hahns composities. Hahn werd geboren te Venezuela en vertrok als kind naar Frankrijk. Hahn volgde onder meer les bij Massenet en Gounod en ontwikkelde zich tot een op-en-top Franse componist. Met name zijn liederen, waren vaak te horen. Thans staat zijn gehele oeuvre opnieuw in de belangstelling Hahn componeerde meer dan 100 liederen. De meeste onstonden tussen 1888 en 1918. In zijn vroege liederen hoor je de invloed van Massenet. Hahn beschouwde Gabriel Fauré als de meester van de melodie. Hahn waardeerde enkele van Fauré's uitverkoren dichters, waaronder Victor Hugo, Théophile Gautier en Paul Verlaine. Zijn liederen vertolktke Hahn graag in Parijse salons en hij begeleidde zichzelf. Rond de eeuwwisseling van de 19e naar de 20e eeuw oogstte hij waardering oogstte in de kring van Proust en Cocteau. In zijn in 1933 onder de titel Journal d’un musicien bericht hij uitvoerig hierover. Zie ook, https://nl.wikipedia.org/wiki/Reynaldo_Hahn https://musicalifeiten.nl Jan de Kruijff (*1931) VERSCHUEREN-orgel 1936 St. Catharinekerk EINDHOVEN NL Zie https://www.brabantorgel.nl/eindhoven-stadskerk-sint-cathrien/ Het orgel met 5725 pijpen, 71 registers en twee speeltafels werd gebouwd in1936 door Verschueren. Stadsarchitect en kerkmeester Louis Kooken (1867-1940) ontwierp het orgelfront. De houten beelden van Jacques Verdonck uit 1850 kregen een plaats in het front. Bij de bouw van het Verschueren-orgel in 1936 baseerde Kerssemakers zich op de ideeën van de Orgelbewegung. Dat leverde een klanksamenstelling op van hoogliggende registers en romantische klanken. Ondanks het feit dat er vele grote (16′ en 8′) prestantpijpen werden opgesteld, is het roosvenster àchter het orgel nog goed zichtbaar. De meeste pijpen staan in twee grote nissen links en rechts van het orgelfront. A CHLORIS text, Théophile de Viau ENGLISH S'il est vrai, Chloris, que tu m'aimes, Mais j'entends, que tu m'aimes bien, Je ne crois point que les rois mêmes Aient un bonheur pareil au mien. Que la mort serait importune De venir changer ma fortune A la félicité des cieux! Tout ce qu'on dit de l'ambroisie Ne touche point ma fantaisie Au prix des grâces de tes yeux. To Chloris If it be true, Chloris, that you love me, (And I'm told you love me dearly), I do not believe that even kings Can match the happiness I know. Even death would be powerless To alter my fortune With the promise of heavenly bliss! All that they say of ambrosia Does not stir my imagination Like the favour of your eyes! [Translation © Richard Stokes, from A French Song Companion (Oxford, 2000)] https://www.oxfordlieder.co.uk/song/2530 REYNALDO HAHN At the end of the 20th century, there was renewed interest in Reynaldo Hahn's compositions. Hahn was born in Venezuela and moved to France as a child. Hahn took lessons from Massenet and Gounod, among others, and developed into a thoroughly French composer. His songs, in particular, were often heard. Now his entire oeuvre is once again in the spotlight Hahn composed more than 100 songs. Most were created between 1888 and 1918. In his early songs, you can hear the influence of Massenet. Hahn considered Gabriel Fauré the master of melody. Hahn appreciated some of Fauré's chosen poets, including Victor Hugo, Théophile Gautier and Paul Verlaine. Hahn liked to perform his songs in Parisian salons and accompanied himself. At the turn of the 19th to the 20th century, he garnered appreciation in the circle of Proust and Cocteau. He reported extensively on this in his 'Journal d'un musicien' in 1933. Check, https://en.wikipedia.org/wiki/Reynaldo_Hahn VERSCHUEREN-orgel 1936 St. Catharinekerk EINDHOVEN NL The organ with 5725 pipes, 71 registers and two consoles was built in 1936 by Verschueren. City architect Louis Kooken (1867-1940) designed the organ front. Jacques Verdonck's wooden statues from 1850 were placed on the facade. When building the Verschueren organ in 1936, Kerssemakers based himself on the ideas of the Orgelbewegung. This resulted in a good color of high registers and romantic sounds. ' Despite the fact that many large (16' and 8') principal pipes were installed, the rose window behind the organ is still clearly visible. Most pipes are in two large niches to the left and right of the organ front. CREDITS AUDIO Matthijs Vink VIDEO Matthijs Vink PRODUCTION Promotion Organ Projects U kunt werk van Stichting Promotie Orgel Projecten [St.POP] ook beluisteren op Spotify, You can also listen on Spotity for Promotion Organ Projects, zie, https://open.spotify.com/album/61wJQEV6rjp4yDfrXRQLsA?si=HIlIlKvuS8SXaNZLM4i2xg
#willemvantwillertmodernorganmusic This FANFARE sounds wonderful in this arrangement for organ solo on the beautiful reeds of the beautifully restored and reconstructed IBACH organ in Bergen op Zoom. AARON COPLAND composed his FANFARE for the COMMON MAN with its start with a solo trumpet percussion, and majestic musical expanse in 1942 for the Cincinnati Symphony Orchestra under conductor Eugene Goossens. Copland was inspired in part by a speech made earlier that year by then-American Vice President Henry A. Wallace, in which Wallace proclaimed the dawning of the "Century of the Common Man". The title was inspired by a speech given by Henry Wallace, vice president under Franklin D. Roosevelt. Copland’s Fanfare for the Common Man remains a defiant ode to America, the fragile beacon, and to the dignity of the individual. Copland considered several titles including Fanfare for a Solemn Ceremony and Fanfare for Four Freedoms. To Goossens' surprise, however, Copland titled the piece FANFARE for the COMMON MAN. Goossens wrote, "Its title is as original as its music, and I think it is so telling that it deserves a special occasion for its performance. If it is agreeable to you, we will premiere it 12 March 1943 at income tax time". Copland's reply was "I [am] all for honoring the common man at income tax time". Copland later used his FANFARE as the main theme of the fourth movement of his Third Symphony (composed between 1944 and 1946). Fanfare has found much use as a theme for television programs. In the USA: YOU ARE THERE in its later years during the show's closing credits. Emerson, Lake and Palmer's arrangement of "Fanfare for the Common Man" was the opening theme song for the CBS Sports Spectacular and in Mexico It was the main title theme of TV Azteca TV sports program DeporTV. In SCOTLAND, the BBC used it as the theme for their main news program Reporting Scotland in the late 1970s and early 1980s. An early 1980s Canadian television series, Titans, used "Fanfare" as its opening theme music. In AUSTRALIA, the Seven Network used Emerson, Lake & Palmer's version in the 1980s and early 1990s as the theme music for Seven Sports broadcasts, and continued to use a teaser version up until 2011. On January 18, 2009, the FANFARE was played at the beginning of WE ARE ONE: The Obama Inaugural Celebration at the Lincoln Memorial. It was also played at the beginning of "An American Reunion", the concert (also at the Lincoln Memorial) on Saturday prior to the inauguration of Bill Clinton in 1992. Several feature films employ the piece for dramatic effect. John Williams' main themes for the 1978 Superman film are partially based on this Fanfare. On October 9, 2004, it was played as Queen Elizabeth II and her procession entered the debating chamber during the opening ceremony of the new Scottish Parliament building in Edinburgh. The FANFARE for the COMMON MAN was one of the musical themes for Expo 67, which was held in Montreal. 21- 09-2012 The FANFARE for the COMMON MAN was played at Los Angeles International Airport as the Space Shuttle Endeavour touched down after its final flight. 26-09-2015, it was played at Independence Hall in Philadelphia as Pope Francis came outside to make a speech. 04-10-2016, it was played at the memorial service for golfer Arnold Palmer, after placing the flags. About A.Copland's life: https://en.wikipedia.org/wiki/Aaron_Copland SOURCE: https://en.wikipedia.org/wiki/Fanfare_for_the_Common_Man CREDITS #willemvantwillertmodernorganmusic Aaron Copland (1900-1990) FANFARE for the COMMON MAN [Arr. for organ: R. Brison/WvTwillert] IBACH-organ Bergen op Zoom [NL] Audio: Marien Stouten Film: Herman Logtenberg Audio & Video Editing: Herman Logtenberg Registrant: Antoinette Mooij Production: Stichting Promotie Orgel Projecten [St. P.O.P.] Arr. for piano more information, check, https://www.aaroncopland.com/works/fanfare-for-the-common-man/
#PROMOTIONORGANPROJECTS The eight participating organists were given these starting points for their improvisations: 1 - Choose well-known songs 2 - Everyone also plays at least 1 free improvisation 3 - Also a so-called short, which is a film of max. 1 minute In case a participant did not want to prepare for a certain part or in case there was still time left, there were some songs ready and also a theme on which to improvise. CREDITS AUDIO Marien Stouten VIDEO Matthijs Vink POST-PRODUCTION Matthijs Vink PRODUCTION Foundation Promotion Organ Projects ST.POP THANKS Thanks to Johanneskerk Amersfoort for the rent of the organs in Joriskerk at Amersfoort as an appreciation for 40 years of employment [in 201] of Willem van Twillert and thanks to Marien Stouten who also made this improvisation project possible because Marien only asked for a reimbursement of the costs for making his audio recording. Willem used this gift to invite nine colleagues to play on the organs of the St Joriskerk in Amersfoort. Audio and video recordings, post-production and distribution are facilitated by his Foundation Promotion Organ Projects.
#PROMOTIONORGANPROJECTS The eight participating organists were given these starting points for their improvisations: 1 - Choose well-known songs 2 - Everyone also plays at least 1 free improvisation 3 - Also a so-called short, which is a film of max. 1 minute In case a participant did not want to prepare for a certain part or in case there was still time left, there were some songs ready and also a theme on which to improvise. CREDITS AUDIO Marien Stouten VIDEO Matthijs Vink POST-PRODUCTION Matthijs Vink PRODUCTION Foundation Promotion Organ Projects ST.POP THANKS Thanks to Johanneskerk Amersfoort for the rent of the organs in Joriskerk at Amersfoort as an appreciation for 40 years of employment [in 201] of Willem van Twillert and thanks to Marien Stouten who also made this improvisation project possible because Marien only asked for a reimbursement of the costs for making his audio recording. Willem used this gift to invite nine colleagues to play on the organs of the St Joriskerk in Amersfoort. Audio and video recordings, post-production and distribution are facilitated by his Foundation Promotion Organ Projects.
#PROMOTIONORGANPROJECTSimprovisation2023 Dit project is mogelijk gemaakt door een schenking van de Johanneskerk in Amersfoort http://www.johanneskerk.nl/ aan Willem van Twillert voor 40 jaar dienst [in 2019] als kerkmusicus. Willem gebruikte deze gift om negen collega's uit te nodigen om op de orgels van de St. Joriskerk in Amersfoort te komen spelen. Audio- en video-opnamen, postproductie en distributie worden gefaciliteerd door zijn Stichting Promotie Orgelprojecten. Deze stichting is in 1989 opgericht door Willem van Twillert en hij heeft er zich financiële borg voor gesteld. Ook dank aan Marien Stouten die dit improvisatieproject mede mogelijk maakte omdat hij alleen vergoeding van kosten vroeg voor maken van zijn audio. Van tevoren kregen de acht geselecteerde organisten voor het Improvisatieproject in de St.- Joriskerk te Amersfoort een beknopt uitgangspunt, 1 - Kies voor bekende liederen 2 - Ieder speelt ook 1 vrije improvisatie, zoals Ab Weegenaar improviseert in deze video 3 - ook minstens 1 zogenaamde short improviseren; een short is een film van maximaal 1 minuut ENGLISH This IMPROVISATION PROJECT was funded by a gift from the Johanneskerk in Amersfoort to Willem van Twillert for 40 years of service [in 2019] as a church musician. Willem used this gift to invite eight colleagues to play on the organs of the St Joriskerk in Amersfoort. Audio and video recordings, post-production and distribution are facilitated by his Foundation Promotion Organ Projects. Thanks also to Marien Stouten who made this improvisation project possible because he only asked for reimbursement of costs for making his audio. The eight participating organists were given these starting points for their improvisations: 1 - Choose well-known songs 2 - Everyone also plays 1 free improvisation like in this video by Ab Weegenaar 3 - Also a so-called SHORT [ max.1 minute] ABOUT AB WEEGENAAR Ab Weegenaar's father was an organist, which brought him into contact with organ music at an early age. Nevertheless, he first started playing the bassoon and was admitted to the conservatory at the age of 15. Ab was taught by Fred Gaasterland, later by Brian Pollard. At the age of 21, Ab was the first in the Netherlands to obtain a soloist's diploma (master's degree) for this instrument. His organ playing was still a hobby at the time; he took lessons from Stef Tuinstra. After his completed bassoon studies, he went back to the Municipal Conservatory in Groningen, for organ studies with Wim van Beek, Theo Jellema and Kees van Eersel (church music). Ab also obtained his master's degree in this instrument. He studied choral conducting at the Hogeschool IDE in Groningen and successfully completed this study in 2003. As a bassoonist, he has worked with the Northern Philharmonic Orchestra, the Residentie Orkest and the Gelders Orkest. As cantor-organist, he was associated with churches in Zeerijp, Groningen, Eelde, Leidschendam, Arnhem and the Grote Kerk in Wageningen. In 1995 Ab Weegenaar was appointed organist of the Bovenkerk in Kampen. In that position, he has been the permanent player of the monumental Hinsz organ and the Reil organ [1999]. In 2017 he was appointed city organist of the Municipality of Kampen NEDERLANDS OVER AB WEEGENAAR De vader van Ab Weegenaar was organist te Groningen waardoor hij vroeg met orgelmuziek in aanraking kwam. Toch ging hij eerst fagot spelen en werd op 15 jarige leeftijd toegelaten op het conservatorium. Ab kreeg les van Fred Gaasterland, later van Brian Pollard. Op zijn 21ste was Ab de eerste in Nederland die voor dit instrument het solistendiploma (master) behaalde. Zijn orgelspel was toen nog hobby; hij volgde lessen bij Stef Tuinstra. Klaar met fagot studie ging hij terug naar het Stedelijk Conservatorium in Groningen, voor orgelstudie bij Wim van Beek, Theo Jellema en bij Kees van Eersel (kerkmuziek). Ook voor dit instrument behaalde Ab zijn masterdiploma. Bij de Hogeschool IDE te Groningen studeerde hij koordirectie diploma in 2003. Als fagottist was hij werkzaam bij het Noordelijk Filharmonisch Orkest, het Residentie Orkest en het Gelders Orkest. Als cantor-organist was hij verbonden aan kerken te Zeerijp, Groningen, Eelde, Leidschendam, Arnhem en de Grote Kerk van Wageningen. In 1995 werd Ab Weegenaar aangesteld als organist-titularis van de Bovenkerk in Kampen. In die functie is hij al vele jaren de vaste bespeler van het monumentale Hinsz-orgel uit 1743 en het Reil-orgel uit 1999. In 2017 volgde een aanstelling als stads organist van de Gemeente Kampen Als fagot docent is hij verbonden aan de muziekschool “Quintus” van Kampen en heeft hij een privé orgelpraktijk in de Bovenkerk (ongeveer 30 leerlingen). Ab Weegenaar is behalve organist en fagottist ook dirigent van vier koren. In 2000 was hij betrokken bij de oprichting van “Het Bovenkerk Kamerkoor’. Sinds de start van dit koor is hij de vaste dirigent. Nu heet het koor “Cappella Campen”. Zie, www.abweegenaar.nl
#willemvantwillertbach #willemvantwillertbaroque LISTEN TO THE HUMAN VOICE after 15 seconds ! This is a RE-release of the video previously posted on YouTube. Thanks to the inventiveness of the editor and secretary of the Foundation Promotion Orgel Projects, Matthijs Vink, the image is now sharper and the sheet music largely follows the performance. Due to copyrights, 90 percent of the sheet music is shown in this video (and not 100 percent). ENGLISH It may well be that everything comes together in a combination of an instrument and a perfect composition by J. S. Bach. I think that is the case here with this Vox Humana 8' from the Hinsz organ in Kampen [NL]. This Vox Humana 8' sound is almost unearthly beautiful because of its extraordinarily lilting and melancholic tone. BWV 208. BWV 208, also known as the Hunting Cantata, is a secular cantata composed by Johann Sebastian Bach for the 31st birthday of Duke Christian of Saxe-Weissenfels on 23 February 1713. It is Bach's earliest surviving secular cantata, composed while he was employed as a court organist in Weimar. Was this cantata intended as a gift to Bach's employer, William Ernest, Duke of Saxe-Weimar, for his neighboring ruler, Duke Christian, who was an avid hunter? Bach stayed in Weißenfels in 1713 for birthday celebrations. Bach was appointed royal Kapellmeister in 1729, but this position as court composer did not require residence at court. ORGAN The oldest pipes in the organ (especially the flutes 4′ and 2′ of the Bovenwerk) probably come from Jan Morlet (1629). In 1676 Jan Slegel completed a new organ, using materials [from Jan Morlet (1629)] from the old organ. 1694-1712 Johan Duyschot maintenance. 1741-1743 Albertus Anthoni Hinsz performs these activities: new organ case renewal of all wind channels, drawers and mechanisms. Registers were added 1788/1789 H.H. Freytag and F.C. Schnitger Jr. manufacture: Free pedal (8 registers) Borstwerk with 4 voices, playable from the Bovenwerk keyboard. The Dulcian 8′ Rugwerk moves to Borstwerk In Rugwerk on vacant place, Fagot 16 19th century Van Gruisen, Scheuer, and Naber work on the organ. 1866 Zwier van Dijk gave the Borstwerk its own keyboard and added registers. 1967-75 restoration by Bakker & Timmenga organ builders, Leeuwarden. Eight registers from around 1820-1866 remained on a separate windchest. 2000 the instrument was “revitalized” by Organ maker Reil. The pipework has been checked, the 7 expansion bellows have been connected to the wind machine, the mechanics have been adjusted and repairs have been made. National Organ Adviser, Rudi van Straten. Check, https://debovenkerk.nl/hinsz-hoofdorgel/ CREDITS POST PRODUCTION [2023] Matthijs Vink.
#willemvantwillertbach #willemvantwillertbaroque This is a RE-release of the video previously posted on YouTube. Thanks to the inventiveness of the editor and secretary of the Foundation Promotion Orgel Projects, Matthijs Vink, the image is now sharper and the sheet music largely follows the performance. Due to copyrights, 90 percent of the sheet music is shown in this video. NEDERLANDS Dit is een HERUITGAVE van de eerder op YouTube geposte video. Dankzij de inventiviteit van editor en secretaris van de stichting Promotie Orgel Projecten, Matthijs Vink is het beeld nu scherper beeld gemaakt en loopt de bladmuziek grotendeels mee met de uitvoering. Vanwege auteursrechten is 90 procent van de bladmuziek in deze video getoond. ENGLISH It may well be that everything comes together in a combination of an instrument and a perfect composition by J. S. Bach. I think that is the case here with this Vox Humana 8' from the Hinsz organ in Kampen [NL]. This Vox Humana 8' sound is almost unearthly beautiful because of its extraordinarily lilting and melancholic tone. BWV 208. BWV 208, also known as the Hunting Cantata, is a secular cantata composed by Johann Sebastian Bach for the 31st birthday of Duke Christian of Saxe-Weissenfels on 23 February 1713. It is Bach's earliest surviving secular cantata, composed while he was employed as a court organist in Weimar. Was this cantata intended as a gift to Bach's employer, William Ernest, Duke of Saxe-Weimar, for his neighboring ruler, Duke Christian, who was an avid hunter? Bach stayed in Weißenfels in 1713 for birthday celebrations. Bach was appointed royal Kapellmeister in 1729, but this position as court composer did not require residence at court. NEDERLANDS Het kan wel eens zijn dat in een combinatie van een instrument en een volmaakte compositie van J. S. Bach alles samenkomt. Dat is misschien het geval bij Vox Humana van het Hinsz-orgel te Kampen [NL]. Deze Vox Humana klinkt is bijna onaards mooi vamwege de buitengewoon zangerige en melancholieke toon. BWV 208 Bachs vroegst bewaarde seculiere cantate, gecomponeerd toen hij als hoforganist in Weimar werkte. Was deze cantate bedoeld als geschenk aan Bachs werkgever, Willem Ernest, hertog van Saksen-Weimar, voor zijn naburige heerser, hertog Christian, die een fervent jager was? Bach verbleef in 1713 in Weißenfels Bach werd 1729 benoemd tot koninklijke kapelmeester, maar voor deze positie als hofcomponist was geen verblijf aan het hof vereist. ORGEL Het oudste pijpwerk in het orgel (vooral de fluiten 4′ en 2′ van het Bovenwerk) is waarschijnlijk afkomstig van Jan Morlet (1629) 1676 voltooide Jan Slegel een nieuw orgel, waarbij hij materialen [van Jan Morlet (1629)] uit het oude orgel gebruikte 1694-1712 Johan Duyschot onderhoud 1741-1743 Albertus Anthoni Hinsz verricht deze werkzaamheden: nieuwe kas vernieuwing alle windkanalen, laden en mechaniek Er kwamen registers bij. 1788/1789 H.H. Freytag en F.C. Schnitger Jr. vervaardigen: Vrij pedaal (8 registers) Borstwerk met 4 stemmen, bespeelbaar vanaf het Bovenwerk-klavier. Dulciaan 8′ Rugwerk verhuist naar Borstwerk en Fagot 16 geplaatst op vrijgekomen plaats 19e eeuw Van Gruisen, Scheuer en Naber werken aan het orgel. 1866 Zwier van Dijk Borstwerk een eigen klavier en toevoeging registers. 1967-75 restauratie door orgelmakerij Bakker & Timmenga, Leeuwarden. Acht registers van omstreeks 1820-1866 bleven aanwezig op aparte lade. 2000 is het instrument “gerevitaliseerd” door Orgelmakers Gebr. Reil. Het pijpwerk aanspraak en egaliteit gecontroleerd, 7 keilbalgen aangesloten op windmachine, mechanieken afgesteld en reparaties verricht. Rijksorgeladviseur, Rudi van Straten. https://debovenkerk.nl/hinsz-hoofdorgel/ ENGLISH ORGAN The oldest pipes in the organ (especially the flutes 4′ and 2′ of the Bovenwerk) probably come from Jan Morlet (1629). 1676 Jan Slegel completed a new organ, using materials [from Jan Morlet (1629)] from the old organ. 1694-1712 Johan Duyschot maintenance. 1741-1743 Albertus Anthoni Hinsz performs these activities: new organ case renewal of all wind channels, drawers and mechanisms. Registers were added. 1788/1789 H.H. Freytag and F.C. Schnitger Jr. manufacture: Free pedal (8 registers) Borstwerk with 4 voices, playable from the Bovenwerk keyboard. The Dulcian 8′ Rugwerk moves to Borstwerk In Rugwerk on a vacant place, Fagot 16'. 19th century Van Gruisen, Scheuer, and Naber work on the organ. 1866 Zwier van Dijk gave the Borstwerk its own keyboard and added stops [registers]. 1967-75 restoration by Bakker & Timmenga organ builders, Leeuwarden. Eight registers from around 1820-1866 remained on a separate windchest. 2000 the instrument was “revitalized” by Organ maker Reil. The pipework has been checked, the 7 expansion bellows have been connected to the wind machine, the mechanics have been adjusted and repairs have been made. National Organ Adviser, Rudi van Straten. CREDITS POST PRODUCTION [2023] Matthijs Vink.
The UEFA Champions League anthem, officially titled ‘Champions League’, is an adaptation of the most famous of Handel’s Coronation Anthems, ‘Zadok the Priest’. Composer Tony Britten was commissioned to write the Champions League theme in 1992 when the football competition was rebranded. Britten, a graduate of the Royal College of Music, borrowed heavily from Handel’s much-loved choral anthem – and it stuck. Coincidentally, Classic FM also launched in 1992, and ‘Zadok the Priest’ was the first piece ever broadcast on the station. The version of the theme that you’ll hear before a match is performed by WILLEM van TWILLERT a Dutch organist on a famous Historical Organ built by the Brothers IBACH in 1864 in Bergen op Zoom in NL The anthem's chorus, which contains the three official languages used by UEFA: English, German, and French, is played before each UEFA Champions League game. It also appears at the beginning and end of television broadcasts of the matches. Special vocal versions have been performed live at the Champions League Final with lyrics in other languages, changing over to the host country's language for the chorus. Handel himself allowed in the eighteenth century that Zadok the Priest, along with other of his works compiled in Coronation Anthems, were used and played in any type of event or ceremony. Listen to the FULL Zadok the Priest ANTHEM CHECK, https://www.youtube.com/watch?v=LTEdXSc6k9A ABOUT this ARRANGEMENT for PIPE ORGAN by William Thomas Best (1826-1897) and WILLEM van TWILLERT (*1952) SHORTSwillemvantwillert #PromotionOrganProjectsSHORTS George Frideric Handel composed 'Zadok the Priest' (HWV 258) for the coronation of King George II on October 11, 1727. William Thomas Best (1826-1897) arranged this work for organ solo. For this recording, the organist, Willem van Twillert added notes in the right hand to emphasize the three-voiced layered violin parts. In the orchestral introduction (now arranged for organ solo) the music prepares a surprise through the use of static layering of soft string textures followed by a suddenly rousing forte tutti entrance, supplemented by three trumpets. It provides stirring heroism. Check, https://en.wikipedia.org/wiki/George_Frideric_Handel TONY BRITTEN Tony Britten (1900-1995) graduated from the Royal College of Music in London, used the music of G. F. Handel as the basis for the Anthem that he made for UEFA on behalf of the UEFA Champions League which started in 1992. "The idea of the Champions League was to make the game beautiful again and the music had to reflect this quality," Britten told UEFA.TV about his arrangement/composition. Tony Britten's choice has been an excellent one in preparing the football fans for the match. Check, https://en.wikipedia.org/wiki/Tony_Britten \ Tony Britten made money by Musicians niche. For all time, at the moment, 2021 year, Tony Britten earned $83 Million. Check, https://heightweighnetworth.com/tony-britten/ The lyrics are a mix of UEFA's three official languages: English, French and German. https://en.wikipedia.org/wiki/Tony_Britten The full words: Champions League Anthem lyrics Ce sont les meilleures équipes Es sind die allerbesten Mannschaften The main event (...) Die Meister Die Besten Les grandes équipes The champions Ils sont les meilleurs Sie sind die Besten These are the champions IBACH-ORGEL [1863 /2011] https://nl.wikipedia.org/wiki/Ibachorgel_Sint-Gertrudiskerk https://www.orgelsite.nl/bergen-op-zoom-st-gertrudiskerk-hoofdorgel/ https://www.brabantorgel.nl/bergen-op-zoom-gertrudiskerk/ ENGLISH https://www.sonusparadisi.cz/en/organs/netherlands/bergen-op-zoom-ibach-organ.html DISPOSITIE [2011] IBACH-ORGEL [1863] CREDITS #willemvantwillerthandel #willemvantwillertbaroque #willemvantwillertbaroque AUDIO Marien Stouten VIDEO Marien Stouten VIDEO EDITING Herman Logtenberg REGISTRANT Marien Stouten PROD. Stichting Promotion Organ Projects THANKS Dank aan Janno den Engelsman titularis Ibach-orgel Bergen op zoom, voor stemmen van de tongwerken en Hans Smout voor de gastvrije ontvangst en organisatie. ENGLISH Thanks to Janno den Engelsman titular Ibach organ Bergen op zoom, for tuning reeds and Hans Smout for the hospitable reception and organization.
IMPROVISETTA in Romantic style Put peace into each other's hand [LB1014] JOS VAN DER KOOY Naber-organ Amersfoort #PROMOTIONORGANPROJECTSIMPROVISETTA As winner of the International Improvisation Competition for Organists in Haarlem (1980 &1981), Jos van der Kooy does not need any further introduction as an improvising organist. In his improvisations, tonality remains a binding, but not a leading factor; sometimes. Jos goes outside, which often produces personal outpourings in harmony and rhythm, and on top of that, there is also a healthy dose of humor. In this improvisation on the melody of 'Put peace into each other's hand', Jos uses a romantic idiom in the style of the song. His improvisation is essentially simple but very effective. Jos van der Kooy also proves himself to be a masterful organist with his registrations. Jos van der Kooy is also a masterly organist in his choice of stops (registration). JOS VAN DER KOOY studied organ with Piet Kee at the Amsterdam Conservatory. In 1981 he was awarded the Prix d'Excellence. He continued his studies with Daniel Roth, Hans Haselböck, Charles de Wolff and Ewald Kooiman. 1977 winner Tournemire Prize at the International Organ Festival in St. Albans (UK). In 1978 winner of the National Organ Improvisation Competition in Bolsward, 1980 and 1981 winner International Improvisation Competition for Organists in Haarlem. 1973-1980 organist and choirmaster of the English Church at the Begijnhof in Amsterdam. 1980 appointment as a teacher at the Leeuwarden Conservatory. 1981-2018 organist and cantor of the Westerkerk in Amsterdam. 1983- 2004 teacher of organ, improvisation and church music at the Alkmaar Conservatory 1990-2017 city organist of Haarlem succeeding his former teacher Piet Kee 1991 appointment at the Royal Conservatory in The Hague. He teaches at the Faculty of Arts at Leiden University. He also taught at the International Summer Academy for Organists in Haarlem. 2007 player of the Bätz organ in the Gothic Hall of Kneuterdijk Palace, the building of the Council of State in The Hague. 2018 conductor of the Stedelijk Leerdams Male Choir 2020 organist Arminiuskerk Rotterdam NEDERLANDS Dit is de eerste van drie improvisaties die Jos van der Kooy speelde op het Naber-orgel in de Sint-Joriskerk te Amersfoort tijdens het improvisatie project (9-10 November 2022). Jos van der Kooy heeft als winnaar van het Internationaal Improvisatie Concours voor Organisten te (1980 &1981) Haarlem geen introductie als improviserend organist nodig. In zijn improvisaties blijft de tonaliteit een bindende, maar geen leidende factor; soms treedt Jos er buiten wat vaak persoonlijke ontboezemingen in samenklanken en ritmiek oplevert. Daarenboven is er ook sprake van een dosis humor. In deze improvisatie over, 'Geef vrede door van hand tot hand,' hanteert Jos een romantisch idioom Tekst Fred Kaan. Vertaling Andries Govaart. De improvisatie is in wezen uiterst eenvoudig maar o zo effectief. Ook in zijn keuze van registers (registratie) toont Jos van der Kooy zich een meesterlijk organist. JOS VAN DER KOOY studeerde hoofdvak orgel bij Piet Kee aan het Amsterdams Conservatorium. In 1981 kreeg hij de Prix d'Excellence uitgereikt. Zijn studie vervolgde hij bij D. Roth, Hans Haselböck, Charles de Wolff en Ewald Kooiman. 1977 winnaar Tournemire Prize tijdens het International Organ Festival in St. Albans (UK). In 1978 winnaar Nationaal Orgelimprovisatieconcours in Bolsward, 1980 en 1981winnaar Internationaal Improvisatie Concours voor Organisten Haarlem. 1973-1980 organist en choirmaster van de Engelse kerk op het Begijnhof in Amsterdam. 1980 benoeming als docent aan het Conservatorium van Leeuwarden. 1981-2018 organist en cantor van de Westerkerk te Amsterdam. 1983- 2004 docent orgel, improvisatie en kerkmuziek aan het Conservatorium van Alkmaar 1990-2017 stads-organist van Haarlem als opvolger van zijn oud-leraar Piet Kee 1991 benoeming aan het Koninklijk Conservatorium in Den Haag. Docent aan Faculteit voor de Kunsten van de Universiteit Leiden. Docent Internationale Zomeracademie voor Organisten Haarlem. 2007 bespeler Bätz-orgel in de Gotische Zaal van Paleis Kneuterdijk, het gebouw van de Raad van State in Den Haag. 2018 dirigent van het Stedelijk Leerdams Mannenkoor 2020 organist Arminiuskerk Rotterdam CREDITS AUDIO Marien Stouten VIDEO Matthijs Vink PROD. Found. Promotion Organ Projects DANK voor sponsoring van huur door Johanneskerk Amersfoort als waardering voor 40 jarig dienstverband van Willem in 2019. Thanks, to Johanneskerk Amersfoort for the rent of the organs in Joriskerk at Amersfoort as an appreciation for 40 years of employment of Willem van Twillert [in 2019] and thanks to Marien Stouten who also made this improvisation project possible because Marien only asked for a reimbursement of the costs for making his audio recording.
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