Samuel Long - Voluntary II - Adlington Hall Organ, Hauptwerk

Samuel Long was organist of the parish church of St Peter le Poer in the City of London. He is listed as 'Mr Samuel Long, Organist of St Peter-le-Poor, Broad-street' among the subscribers to William Riley's essay Parochial Music Corrected, London: 1762, and contributed two psalm tunes to Riley's accompanying anthology, Parochial Harmony.
A further three psalm tunes by Long were included in A Collection of Melodies for the Psalms of David, according to the version of Christopher Smart, published by J. Walsh in 1765. One further new tune attributed to Long was included in the collection The Divine Harmonist's Assistant, London: [c1786], compiled by William Riley and published posthumously by his widow, and another was included in Francis Roome's The Harmony of Jerusalem, London: (1801).
Several songs by Long were published during his lifetime, and a set of Four Lessons and two Voluntarys for the Harpsichord or Organ was published posthumously by his widow [c1770].
(source: cpld.org)
Played on the sample set of the special organ of Adlington Hall, England. Maybe you have to get used to the dry acoustics in this recording, of course that's just how it is with this organ (I even choose wetter channel settings). It's very nice to play this music on an organ/model like this.
Sheet music on IMSLP:
imslp.org/wiki/Special:Revers...
Sample set by Sonus Paradisi:
www.sonusparadisi.cz/en/organ...
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[@jimbo3847]

The dotted 16th note rhythm really slaps! It so wonderful to discover music that otherwise may be forgotten and lost.

[@RalphLooij]

Thanks!

[@nils-olekrafft1769]

Perfectly fine articulation in this dry acoustic. Very good.

[@RalphLooij]

Thanks! Dry indeed, always a challenge.

[@philippelegargean5120]

This music is a real pleasure!

[@RalphLooij]

Thanks!

[@RienSchalkwijk]

Beautiful playing Ralph! An unforgiving dry sound. So it requires perfect playing. I didn’t know the sample set bor the composer. Happily I know you so I knew it must be good!

[@RalphLooij]

Thanks, Rien! Unforgiving indeed!

[@raulreyes3480]

Danke für es zu teilen. Es ist was ich wirklich brauche zu spielen. Danke. So gut gespielt soweit

[@RalphLooij]

Danke!

[@MarcusReeves]

Mr Long was clearly a fine exponent of the English baroque style. Wonderful to hear this played on such an historic organ as that of Adlington Hall.

[@RalphLooij]

Thanks!

[@MichaelStBede]

Thank you for this pleasant recording. I did appreciate the lack of reverberation, which seemed very suitable to this work and the instrument.

[@RalphLooij]

Thanks, it makes it certainly more intimate.

[@AprilClaytonflute]

Great to see the music and how you ornament. And such a great organ sound!

[@RalphLooij]

Thanks!

[@ClaraOrgan]

Bravo! Ralph! Have a wonderful day 🥰😀😀

[@RalphLooij]

Thanks!

[@peternaryd_operasinger]

Wonderful Ralph 👏👏👏

[@RalphLooij]

Thanks

[@dieterpeszat2105]

Simple composition and simply beautiful sound.🔉

[@RalphLooij]

Thanks, Dieter. I must say that the fugue was rather tricky. It reminded me a bit of the last fugue of Bach's Toccata d-moll BWV 913.

[@dieterpeszat2105]

@@RalphLooij You are a master at overcoming many hurdles. Hope you and we continue to have fun! 🌹🍀🌺

[@RalphLooij]

@@dieterpeszat2105 Hope so too ;)

[@nakorganist]

Fantastic music dear Ralph, the acoustics are surprisingly "dry" - you wouldn't expect that, but it sounds very nice! Best regards, Roland

[@RalphLooij]

Thanks!

[@SecretsofOrganPlaying]

Very nice authentic sound and temperament

[@IchiganCS]

When it is not well-tempered, it sounds weird to me (which is of course a fault on my part).
Do you know what temperament was used?

[@SecretsofOrganPlaying]

@@IchiganCS I could make a guess but Ralph knows for sure.

[@RalphLooij]

It truly is!

[@RalphLooij]

It is a modified meantone temperament: mander-organs-forum.invisionzone.com/topic/66-adlington-hall-temperament/

[@AlasPoorEngland]

Interesting 8ves between lh and rh last note bar 2 … take lh down a min 3rd …?

[@RalphLooij]

I'm not sure I understand your comment completely ;)

[@AlasPoorEngland]

@@RalphLooijSorry! Between the third and fourth crotchets in bar 2 there are very noticeable consecutive 8ves between the top and bottom voices - both move upwards from a to f. I don’t think it’s a real problem as the rest of the piece is so good and so suited to the instrument: and I love your playing!

[@RalphLooij]

@@AlasPoorEngland I see, you're right. It's no Bachregarding perfection, but certainly good enough. Thanks for your appreciation!