Léon Berben - Van Noordt: Tabulatuurboeck van Psalmen en Fantasyen (2023) [Hi-Res]

Tracklist

CD1
01. Camphuysen Manuscript: Psalm 65
02. Tabulatuurboeck van Psalmen en Fantasyen: Fantasia No. 2
03. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 15
04. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 38
05. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 6
06. Tabulatuurboeck van Psalmen en Fantasyen: Fantasia No. 5
07. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 7
08. Camphuysen Manuscript: Psalm 5
09. Lübbenauer Tabulatur: Psalm 5
10. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 2
11. Tabulatuurboeck van Psalmen en Fantasyen: Fantasia No. 1
12. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 50
13. Lübbenauer Tabulatur: Psalm 66
14. Tabulatuurboeck van Psalmen en Fantasyen: Fantasia No. 6

CD2
01. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 119
02. Camphuysen Manuscript: Psalm 116
03. Lübbenauer Tabulatur: Psalm 116
04. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 116
05. Tabulatuurboeck van Psalmen en Fantasyen: Fantasia No. 3
06. Camphuysen Manuscript: Psalm 100
07. Lübbenauer Tabulatur: Psalm 100
08. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 22
09. Tabulatuurboeck van Psalmen en Fantasyen: Fantasia No. 4
10. Camphuysen Manuscript: Daphne
11. Lübbenauer Tabulatur: Psalm 24
12. Tabulatuurboeck van Psalmen en Fantasyen: Psalm 24



Very little is known about the life of Anthoni van Noordt. Following in the tradition of Jan Piertszoon Sweelinck, he was organist at the Nieuwe Kerk in Amsterdam from 1664. After the death of Dirck Sweelinck in 1652, the van Noordt family became Amsterdam's most important musical family. The van Hagerbeer organ in the Pieterskerk in Leiden, a large 17th-century Dutch city organ with a wide variety of stops, is particularly well suited for the performance of van Noordt's music. The organ still has many of the characteristics of a traditional Renaissance organ, but the earlier preference for strongly contrasting timbres has given way to greater homogeneity, generally tending towards a somewhat darker sound. Also new is the striving for solemnity and weight, expressed above all in the disposition of a 24' in the Hauptwerk and a Trompete 16' in the Pedal. The old variety of reed stops has disappeared, however, but there are still several higher stops such as Nasard 11⁄2', Sifflet 1' and Tertiaan. Léon Berben offers us a colourful and lushly ornamented reading of van Noordt's 1659 Tabulatuurboeck van Psalmen en Fantasyen.

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