Wilhelm Friedemann Bach (1710-1784)
0:00 Fuge g-Moll
RP: HS, G4, W2
HW: B16, P8, 04
HW/RW
2:26 Fuge F-Dur
quatre-mains: Klaas Bolt - Francien Janse
HW: P8, R8, O4, O2, M
RW: H8, Q8, P4, W2, M
at the end:
HW/RW

Christoph Friedrich Beck (18de eeuw)
7:40 Minuetto
quatre-mains: Klaas Bolt - Francien Janse
RP: H8, G4
HW: R8

Anonymus (18de eeuw)
10:18 Sonatina
quatre-mains: Klaas Bolt - Francien .lanse
RP: H8, P4, G4, W2
HW: R8, O4

Adriaan C. Schuurman (1904-1999)
Praeludium over "Op bergen en in dalen"
12:28 Koraal
13:14 Praeludium
15:39 Aria
17:26 Finale

Klaas Bolt (1927-1990)
Variaties over de melodie van Psalm 108
20:10 Koraal
21:35 Variatie voor de Fagot
HW: F16, B16, R8, F4
RW: G4, Hf
23:23 Var. voor de tongwerken
HW: F16, TS8
RW: D8
HW/RW
28:16 Var. voor de Flageolet 1'
RW: G4, F1
29:18 Var. voor de Sexquialter
32:09 Var. voor het klokkenspel
33:27 Var. voor de Gemshoorn 4' van het Rugwerk
RW: G4
HW: B16, R8, B8, F4
35:47 Var. voor het volle orgel
c.f. - Francien Janse

Klaas Bolt in Harderwijk - an impression by Francien Janse
When l became an organ pupil of Klaas Bolt at the Sweelinck Conservatory in Amsterdam in 1977, a new world opened up. As if the move from a two-manual and pedal harmonium (for organ lessons) to the imposing Müller instrument in the St Bavo was not overwhelming enough, Klaas taught me what constitutes the beauty of an organ. With endless patience he taught one to listen, first to the individual stops and then to all sorts of combinations. Lessons on organ building for 3rd- and 4th-year students included numerous organ trips, and as his own pupil I was allowed to go along from my first year. I got to know the wealth of organs in Holland, and later in north Germany. He introduced each organ with a psalm improvisation - all his students were familiar with the little psalter which he always carried in his jacket pocket - listen first and play later. We travelled to London and Cambridge; here again listening came first, in this case listening to English choirs. My scrapbooks are full of photos, programmes etc of these wonderful years!
Before long Klaas Bolt took me along to pull the stops for his recitals, usually on the occasion of the inauguration of a new organ or the completion of a restoration. Not always easy, since Klaas often give unprepared directions during an improvisation, the answer to which was sometimes "I can't find it!" Then he just went on improvising until the stop in question was found. Sometimes he said "here, you play this!", so that an improvisation 'with a third hand' was given, as on several of his records. At the inauguration of the restored Bätz organ in Harderwijk no less than four hands were involved in 18th-century dances and a fugue by W.F. Bach. During this recital Klaas gave a masterly improvisation on psalm 108, and this probably sparked off the idea of making a recording of it. This took place in the late evening and night of 30 September and 1 October 1981. In those days a large recording van parked outside the church and no end of microphone tests were made. During the improvisation on psalm 108 'a variation for the reeds' took some time because Klaas began to laugh out loud every time the Fagot 16' came in with a snort, forcing him to start again every time! While he was preparing 'a variation for the Gemshoorn 4' on the Rugwerk', just for fun he played a postlude with jazzy effects; I managed to persuade him to do it again for the recording, although he insisted on a 'normal' final chord. When one listens to the end of this variation the hesitation is evident: "shall I, or shall I not..", and then - after a pleading glance from me - the jazz chord to finish! "Very well, just for you", Klaas said.