Chorus “Wir setzen uns mit Tränen nieder”

Reply to Sesquialtera, Sanden, Erzahler, Morris70
Thanks for your reactions! I regret there is so little musicological discussion on this website. I start something.
1. My response to Voice <> Midi and difficult to play:
I used the option in Hauptwerk to double recordings. In fact some of the 8 pieces cannot be played in one performance, not enough fingers. This option offered the opportunity to play the singing parts separately. The voices of singers and instruments in a normal orchestral/choir performance are more separated from one another than with the organ. Even when one looks for contrastful registers, voices of the organ tend to fuse sooner. By playing the singing parts separately, taking into account the natural emphasis in the syllables and breathing pauses, I think the performance became more transparent. I was triggered by the recent performance of Reinbert de Leeuw who emphasized that he started with the text.
2. I rerun the recordings several times to find the best registration. After changing a registration I sometimes had to replay parts because the newly chosen register required some adaptation of playing style.
3. In this respect I do not quite understand why people publish midi files. The midi file is linked essentially to the organ and its registers used and its acoustics.
4. In this respect I also do not understand why Milan chose to extend Hauptwerk with the option of convolving dry samples with reverberations at choice. The intonation of an organ is linked with the acoustics of its environment. It took a full year to intonate the organ in the new Philharmonie in Paris in relation to the acoustics. It might be interesting for musicological research by IRCAM but I like to stick to surround samples.
5. Difficult to play: being a retired person I spent a full year on this project.