Registration habits of Samuel De Lange Sr. & Jr. by Hester van der Maleby Hester van der Male | Het ORGEL | Year 112 | (2016) | Issue 5
Hester van der Male Registration habits of Samuel De Lange Sr. & Jr.
Het ORGEL 112 (2016), nr. 5, 26-35 [summary]
Nineteenth-century organists gave much attention to color and dynamics in their registration. Many composers provided their music with dynamic indications and registration indications. This was the case with father and son De Lange as well. We have a number of unique registrations by father De Lange. This article gives an impression of the characteristics of the registration practices of father and son De Lange, compared with those of contemporaries. Additionally, their significance for the musical life of Rotterdam is discussed. The instruments for which their indications were intended are mentioned, together with the dominant opinions about organ sound. An overview of their registration indications is sketched. Comparison with indications of contemporaries places their indications in a wider perspective.
Samuel de Lange Sr. appears in his works and registration indications to be a true craftsman, typical for the average city organist of the 19th century. He was not very progressive, though he was well informed about organ building and organ sound. From the analysis of his registration indications and the comparison with those of contemporaries it can be concluded that his registrations showed both classical and typically 19th-century characteristics.
The registration indications of De Lange Jr. show the same characteristics as those of his father, although Jr. used the swell box more often. Generally speaking, the son does appear more progressive than the father.
Rotterdam Laurenskerk Wolferts-organ