It’s not. Take a look at the score. And take the organ into consideration.

Slower than many, but what Rutter wrote...

There is nothing ambiguous about the specification in Praetorius: "Pfeifen starck repetiret durch das gantze Clavir in f und in c und wird also gesetzt f a c". Of course he describes many other cimbel compositions that don't include inharmonic notes. Klingende (or Rauschende) "Quart-sext" cimbels have been documented in sources aside from Praetorius. For instance, the contract for the organ that Rudolph Garrels built in Maasland in 1725 very clearly has the cimbel specified with the composition "F A C" (exactly the way it is specified in Praetorius). According to documentation by Gustav Fock, cimbel at the very well preserved Schnitger organ at Steinkirchen was also quartsext until 1947. Also, speaking of "inharmonious", listen to Polish cymbals used by the Krakow school from the early 17th century up until the mid 18th century - for instance at the organs of Olkusz or Jędrzejów. :)

Praetorius also wrote that Scharfs should play F and C. Of course they would do so from the F key, which on many of the surviving instruments of Praetorius' time would be the lowest note. Should we therefore build Scharfs that play inharmonics, or should we assume he was just describing the pitches at the lowest note of many organs for both stop types? If the C - E keyboard segment started with CEG and the F - B segment started with FAC, the entire octave would therefore repeat across the compass, and that could be what he meant. In his description of Scharfs he writes that in repetition 'when one proceeds from one c OR (capitals mine) f to the next, the [original pitch] repeats itself. This condition is immaterial' (Trans. Bunjes). It certainly wouldn't be immaterial for Scharfs if they suddenly added inharmonics to the pleno. Again, Praetorius described many Zimbel types, most of which are very seldom built today. It seems to be assumed now that everyone built the same type in the earlier times. There's even a Quart-Sext Zimbel at the new "Brabant" organ at Liege. As to Polish Zimbeln, these are very much higher in pitch than the Quart-Sext Zimbel, at around the limit of pitch discrimination, and so produce a much different effect which is surprisingly imitative of a Turkish cymbal, itself inharmonic. Bunjes proposed that the rare 'Vogelsang durch ganzes clavir/pedal'' was also pitched that high, so the Germans might have known the effect but didn't think of it as a Zimbel. Granted, the information about Maasland and Steinkirchen is new to me; thank you for that. I will certainly check it out. Where can I find the Maasland contract's information?@@joannescouchet7038

@@richardholmquist7316 The Maasland reference is from Jan van Biezen's Het Nederlandse orgel in de Renaissance en de Barok (there may be other references to QS cimbels in the book, I don't remember). Another very unambiguous reference to Quart-Sext cimbel composition is in Jacob Wilhelm Lustig's organ inspection report at Aurich St. Lambertus in 1759: "Die Zimbel ist in Quarten und Sexten gestimmt, was sehr häßlich klingt; sie muß Terz, Quinte und Oktave hören lassen." (From Ibo Ortgies' thesis) It is interesting that they were built at such a late date, but it seems clear from Lustig that they were also out of fashion by the time. Organs in North and Central Germany in Praetorius' time generally started from C; only the Netherlands held onto the more old-fashioned F compasses until the mid-17th century. The few organs for which Praetorius gives the compass in Organographia all start from C as well, except for the one in Leipzig that starts on D. While earlier 17th century Polish cymbals (Olkusz for instance) tend to be higher in composition, later ones (for instance the very large 11-rank one at Krakow Holy Cross) are often lower.

Historic or not, it's very unpleasant to listen to.

... and mayonnaise is spicy.

Worst wolf is around 0:44 where LH plays A-flat major triad

@@seheytIt's meantone, so yes, some of those modulations are "to be felt". Other than that, most of the piece works quite well and sparkly in meantone, I think.

@@Mengeliciousmoments Yes, it's mostly very interesting, but the high registers can be a bit unnerving - reminding me of film music effects that aren't a bad fit to Rutter anyways

To be honest, I don't have any connection to Virgin Classics, which I presume is the rights owner. If I were to write them, it'd probably do as much good, as if anyone else did. But I'll point it out to Dietrich, if he has an idea, maybe, who knows...

Just dropping in to 1) thank you and 2) thank you for your other comment on the Weckmann last night, of which I've received a notification by email, but which doesn't show up anywhere in my KZbin Studio. Weird. In any case, I'll ask Dietrich K. next time I meet him. Got also some other footage on my harddrive waiting to be edited, in which Dietrich assisted me, hopefully I can get that out soon.