Komb Sample Clauses

Komb in op. 80/1, for instance, is obviously inspired by the gapped nature of the music itself. Here, in bars 11 to 13, the high manual parts are emphasised by the registration for manual III (Aeoline 8', Voix céleste 8' and Flautino 2'), and the depth of the bass is strengthened by the addition of the Untersatz 32', which also affirms the ostinato character of the bass line throughout the movement. A few bars later, a single 8' gedeckt in the right hand is enveloped by the 8' and 2' gapped registration in the left hand in the manner of Reger’s beloved ‘veiled’ registration (see under section 4.3), in which an 8' stop would normally be surrounded by an 8' and 4' accompaniment. The gapped registration, 16,8,8,8,2⅔, for manual III of 1.Komb. in the Kyrie, op. 59/7 certainly contributes to the intensity and colourfulness of the sound, but may also have been chosen for its dynamic potential within the Swell box, for its transitional flexibility in the context of the ensuing Walze crescendo, or, more likely perhaps, for a combination of these factors. Reasons for the gapped registration and for the concentration on the third harmonic in the registration indicated by Straube for the Gloria, op. 59/8, bars 49 to 60 (Aeoline 8', Gedackt 8', Quintatön 8', Quinte 2⅔) are more difficult to find. Nevertheless, it is clear that these colouristic registrations are exceptional in Straube’s Reger editions, and are consciously employed for a variety of textural reasons.