Masterpiece is a player. The instruments and the performances heard through it were produced by third parties and are credited here.
The fifteen organs heard in this recording are sample libraries produced by Piotr Grabowski. Fourteen are the freely published demonstration sets, which include only some of each organ's stops; Giubiasco is the complete set. Each remains the property of its producer and is governed by that producer's terms. None is included with Masterpiece.
| Organ | Producer |
|---|---|
| Giubiasco | Piotr Grabowski |
| Alessandria (demonstration set) | Piotr Grabowski |
| Pinerolo (demonstration set) | Piotr Grabowski |
| Ermelo (demonstration set) | Piotr Grabowski |
| Święta Lipka (demonstration set) | Piotr Grabowski |
| Nitra (demonstration set) | Piotr Grabowski |
| Erfurt-Büßleben (demonstration set) | Piotr Grabowski |
| Erfurt, Predigerkirche (demonstration set) | Piotr Grabowski |
| Obervellach (demonstration set) | Piotr Grabowski |
| Düren (demonstration set) | Piotr Grabowski |
| Chorzów, St Hedwig of Silesia (demonstration set) | Piotr Grabowski |
| Goch (demonstration set) | Piotr Grabowski |
| Oloron-Sainte-Marie (demonstration set) | Piotr Grabowski |
| Bégard (demonstration set) | Piotr Grabowski |
| Nancy (demonstration set) | Piotr Grabowski |
As in the first recording, the works are played from MIDI sequences produced for the Sound Canvas Pipe Organ Project (SCPOP). Each sequence is a performance; the phrasing is the sequencer's work. Registrations were drawn on each instrument for this recording.
Archive: organosandomenicorieti.it/scpop. The Widor Toccata was obtained via classicalmidi.co.uk.
| Work | Organ | Sequenced by |
|---|---|---|
| Zipoli — Toccata in D minor | Giubiasco | Raffaele Diodati, 1998 |
| Pasquini — Toccata con lo scherzo del cucu | Giubiasco | Raffaele Diodati |
| Banchieri — Dialogo per organo | Alessandria | Ignacio Sniechowski |
| Petrali — Elevazione | Alessandria | Raffaele Diodati, 1998 |
| Bruhns — Praeludium in E minor | Pinerolo | Louke B. Kleyn, 2001 |
| Bach — Fugue in G major "Gigue", BWV 577 | Pinerolo | Martin Robinson |
| Frescobaldi — Capriccio sopra il Cucu | Ermelo | Henk Beens |
| Telemann — Fantasia in D | Ermelo | Henk Beens |
| Sweelinck — Puer nobis nascitur, variations | Święta Lipka | Henk Beens |
| Buxtehude — Praeludium, Fuga and Ciacona in C | Święta Lipka | Henk Beens |
| Buxtehude — Nun komm, der Heiden Heiland | Nitra | Andrew Maguire, 1999 |
| Buxtehude — Prelude and Fugue in G minor | Nitra | Andrew Maguire, 1998 |
| Pachelbel — Theme and Variations | Erfurt-Büßleben | Ray Huggett |
| Bach — Ich ruf zu dir, Herr Jesu Christ, BWV 639 | Erfurt-Büßleben | Raffaele Diodati |
| Krebs — Trio in D major | Erfurt, Predigerkirche | Louke B. Kleyn, 2001 |
| Bach — Prelude and Fugue in A minor, BWV 543 | Erfurt, Predigerkirche | Andrew Maguire, 2000 |
| Mozart — Fantasia in F minor, K608 | Obervellach | Raffaele Diodati |
| Bruckner — Cantabile | Obervellach | Andrea Amici |
| Reger — Fantasia on 'Ein feste Burg' | Düren | F. Borsari |
| Karg-Elert — Nun danket alle Gott | Düren | Andrew Maguire |
| Reger — Vom Himmel hoch, da komm ich her | Chorzów, St Hedwig of Silesia | Henk Beens |
| Brahms — Prelude and Fugue in G minor | Chorzów, St Hedwig of Silesia | F. Borsari |
| Brahms — Herzlich tut mich verlangen | Goch | Raffaele Diodati, 1997–98 |
| Widor — Toccata | Goch | William Shattuck |
| Balbastre — A la venue de Noel | Oloron-Sainte-Marie | Louke Kleyn, 1999 |
| Grison — Toccata in F | Oloron-Sainte-Marie | Ron Pearcy |
| Franck — Priere, op. 20 | Bégard | Raffaele Diodati |
| Boellmann — Suite Gothique | Bégard | Andrew Maguire, 1999 |
| Franck — Chorale no. 3 in A minor | Nancy | Raffaele Diodati |
| Widor — Symphony no. 1: Marche Pontificale | Nancy | F. Borsari |
All of the above carry the credit “Organ sounds by The Sound Canvas Pipe Organ Project — www.scpop.de”. Excerpts of about 25 seconds are used, not complete works.
The sequences were written for a Roland Sound Canvas and required four changes before a sampled organ could play them.
SCPOP places the manuals on channels 1 and 2 and the pedal on channel 3; the sequences are remapped to the key flow a sampled organ expects.
Notes below a physical pedalboard's range are folded into it, and the octave doubling used to add weight on the Sound Canvas is removed, since a 32′ or 16′ stop supplies it.
The system-exclusive messages that selected Sound Canvas voices have no meaning here; registration is drawn on the instrument.
Where a sequence releases the notes of an arpeggiated chord as the next note arrives and the score ties them, the notes are sustained. The two diminished sevenths in BWV 565 are the principal case.
Score readings were checked against the Mutopia Project edition of BWV 565, typeset in LilyPond and released to the public domain.
The published work of these projects was a reference and a source of understanding throughout, and is gratefully acknowledged: GrandOrgue, OdfEdit, rusty-pipes and HISE.