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Cristina García Banegas

Despite being a little-known instrument, there is a long history to it: the earliest mention of a string instrument with keyboard and pedals refers to a clavichord, and dates back to 1460. Its golden age was during the seventeenth and eighteenth centuries, a time when organists used it as a home practice instrument, as practicing at the organ implied, among other issues, paying for a person to operate the bellows in order to make the instrument work.

The pedal piano was much appreciated by W. A Mozart too, for it gave him the possibility of extending the bass register of the pianos of his time. His Concerto in D minor (K 466) shows some sings of having been composed for a pedal piano.


During the nineteenth century, some composers (Charles Valentin Alkan, Franz Liszt, Charles Gounod, Camile Saint Saëns, Leon Boëllmann) dedicated several works to the instrument; yet it never became really popular, presumably because it was so difficult to play. By the twentieth century only few organists owned one as practice instrument. 

Schumann was one of its enthusiasts, through his Six Pieces in Canon Form (Op. 56), Four Sketches (Op. 58) and the fugues Op. 60 in this recording.


Jaime Camps

Organ Works - Cristina García Banegas  (OR 3968 - 0574)    

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Category: Organ - Romantic music, XXth century - CD

Organ Works

Cristina García Banegas


                                             CD Tracks

Loose and long verses (VI book) -  María Antonia Palacios 


  01 – 06  Verses 1 to 6,  first tone

                                07 – 12  Verses 1 to 6,  third tone 

                                13 – 18  Verses 1 to 6,  fourth tone  

                                19 – 24  Verses 1 to 6,  second tone   

                                25 – Palazín: Adagio


Six Fugues on B-A-C-H op. 60 – Robert Schumann


                                26 – Fugue Nº 1 (five voices)

                                27 – Fugue Nº 2 (four voices)

                                28 – Fugue Nº 3 (five voices)

                                29 – Fugue Nº 4 (five voices)

                                30 – Fugue Nº 5 (four voices)

                                31 – Fugue Nº 6 (five voices)


Sonate d’Intavolatura per Organo e Cimbalo – Domenico Zipoli


                                32 – Verse 1 

                                33 – Verse 2 

                                34 – Verse 3 

                                35 – Verse 4 

                                36 – Canzona 

"The E. F. Walcker organ at the Buenos Aires Metropolitan Cathedral belongs in terms of sound aesthetics to German Romanticism, which makes it ideal for performing these works"

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Cristina García Banegas

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