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UPDATED 05/12/2008
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- Buxtehude, Dietrich: Prelude and Fugue in G minor, BuxWV 149
- A rollicking precursor to the great organ preludes and fugues of J.S. Bach, but instead of two separate movements, it consists of four contrasting
sections, the last of which is an exquisite fugue.
Schantz/Rodgers, (1966/2000) at First Baptist Church of Riverside, California recorded by Jonathan Orwig
[7:51]
- Buxtehude, Dietrich: Fuga in Bb Major, BuxWV 176
- Sectional fugue with repeated note in the first subject, alternating common meter and 12/8 with a dramatic moment or two. Though played only on the
Hauptwerk division, the Bordun 16' and Principal Chorus with both mixtures give it an amazing breadth.
Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) - Samples by Brett Milan
[4:16] (A=465)
HW1
- Buxtehude, Dietrich: Praeludium in G minor, BuxWV 148
- Opens with Manual I flourishes over organ points in the Pedal. The next section labeled Allegro is a short transition of a chromatic bent which leads
to a fughetta on a repeated note theme, played on Manual II. Then follows a rolling 3/2 section for three voices on Manual I and Pedal. Finally a
2-measure passacaglia theme enters in the Pedal, modulates a few times, and ends with a statement in Bb that shifts smoothly to a Phrygian cadence in
the original key.
Gottfried Silbermann Organ, St. Marienkirche / Rötha, Germany (1722) - Samples by Brett Milan
[6:8] (A=465)
HW1
- Buxtehude, Dietrich: Christ unser Herr zum Jordan kam, BuxWV 180
- Very spontaneously ornamented chorale treatment with amusing sequences near the end in the accompaniment. Registration: RH Chorale: Hoofdwerk Prestant
8' + Octaaf 4' + Cornet 4 Sterck; LH Rugpositief Holpijp 8' + Fluit 4' + Nasard 3' + Woodfluit 2'; PD Subbas 16' + Holfluit 8' + Octaaf 4'.
Bosch-Schnitger Organ, Vollenhove/Overijssel (1686/1720) -
Samples by Prof. Helmut Maier
[3:39] (a=420 Hz)
Midi file available.
HW2>3
- Buxtehude, Dietrich: Praeludium in F Major, BuxWV 145
- The most arresting feature of this "prelude" is a fugue on a simple repeating major second, showing how the simplest materials can be made into boldly
virtuosic sounding displays. It sounds like it's in F# because of the Chortone.
Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) - Samples by Brett Milan
[5:49] (A=465)
HW1
- Buxtehude, Dietrich: Ciacona in C minor, BuxWV 159
- Unlike Buxtehude's more famous Passacaglio in D minor, the pedal theme does not repeat throughout the entire piece, since a ciacona relies more on a
harmonic progression than the constant repetition of a single theme in the bass line. Here the more delicate flute stops begin and end the piece. The
unique Slbermann Qvintadena is quite evident, and the careful listener might hear a slight noise from the trackers and discern a couple of judicious
substitutions for the missing high D in the pedal of this venerable instrument.
Gottfried Silbermann Organ, Reinhardtsgrimma / Sachsen, Germany (1731) - Samples by Prof. Helmut Maier
[7:27] (A=465)
HW1
- Buxtehude, Dietrich: Wie schön leuchtet der Morgenstern, BuxWV 223
- A pastorale setting of variations on the Epiphany Chorale, "How Brightly Shines the Morning Star," interrupted by occasional florid passages, with
sparing use of pedal. Output volume -6dB. Utilizes original tuning at a lower pitch, but a version using Roetha-BradLehman Temperament is available here.
Caimari organ - Palma, Mallorca (1702) -
Samples by Jiri Zurek
[7:26] (a=408 Hz)
HW2>3
- Buxtehude, Dietrich: Ich ruf zu dir, BuxWV 196
- Somewhat atypical setting for two more or less equal voices and non-cantus pedal with subtly varying meter and texture changes. Registration: RH
Hoofdwerk Prestant 8' + Fluit 4' B&D + Fluit 2' B&D'; LH Rugpositief Holpijp 8' + Prestant 4' + Nasard 3' + Woudfluit 2''; PD Subbas 16' + Prestant
8'.
Bosch-Schnitger Organ, Vollenhove/Overijssel (1686/1720) -
Samples by Prof. Helmut Maier
[3:4] (a=420 Hz)
HW2>3
- Buxtehude, Dietrich: Lobt Gott, Ihr Christen, allzugleich, BuxWV 202
- Jolly little Christmas setting. RoethaLehmann-Bach Temperament, -4dB output volue. Registration: Man. 1: Copl 8' + Principal 4';
Chorale on Man. 2: Copl 8' + Spitxflet 4' + Nassat 3' + Regal 8' + Quinta 1-1/2';
Ped: Copl 16' + Principal 8'. One short passage in the Pedal was transposed down 1 octave.
Doksy-Kruh organ (1627) -
Samples by Jiri Zurek
[1:5]
HW2>3
- Buxtehude, Dietrich: Toccata in F Major, BuxWV 156
- One of the most improvisatory of Buxtehude's works, showcasing many different ensembles, coupled and uncoupled, of this unique and versatile organ.
Output volume has been decreased to allow nearly full organ.
Johann Adam Ehrlich organ at Evangelische Stadtkirche / Bad Wimpfen, Germany (1748) - Samples by Gernot Wurst
[6:45] (a=468 Hz)
HW1
- Buxtehude, Dietrich: Durch Adams Fall ist ganz verderbt, BuxWV 183
- Chorale (RP Holpijp 8' + Prestant 4' + Nasat 3' + Octaaf 2' + Sexquialter 2 sterck) as usual ends with an elaborate flourish. Other voices on HW
Rohrfluit 8' + Fluit 4' + Fluit 2'; PD Subbas 16' + Prestant 8'.
Bosch-Schnitger Organ, Vollenhove/Overijssel (1686/1720) -
Samples by Prof. Helmut Maier
[2:32] (a=420 Hz)
HW2>3
- Buxtehude, Dietrich: Toccata in G Major, BuxWV 164
- Three sections, the first has some rapid ornamentation ending with an organ point over which first inversion arpeggios descend. The second section is
like a fugue with a jaunty little subject and ends with sequential arpeggios, interrupted by section 3, with rapid fire scale passages followed by a
calm ending.
The Casavant Frères organ (opus 2871) at St. George's Memorial Anglican Church Oshawa, Ontario, Canada (1966) - Samples by Ken Bales
[3:8]
MO
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