Description
Johann Sebastian Bach likely made considerable use of the imitative nature of organ sounds when selecting registrations at the organ. A study of Bachs written evaluations of various organs and the specifications of organs with which he was familiar enables a general assessment of his expectations regarding organ construction and capabilities. The few registration examples attributable to Bach are considered in the light of documented registration practices of some of his contemporaries and in the context of other relevant constraints and influences of the time. We explore the possibilities for using this accumulated knowledge from Bachs day to aid in the application of the imitative quality of organ sounds to the modern interpretation of Bachs organ works.
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