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UPDATED 05/12/2008
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- Bach, Johann Sebastian: Prelude & Fugue ("St. Anne") in Eb Major, BWV 552
- These two pieces constitute the beginning and ending of Bach's Die Klavierübung, Part III. The prelude utilizes three major textures: the first grand
and stately; the second coy, almost childish; the third is like a rolling wave, starting small but eventually threatening to encompass everything in
its path, but it finally reverts to the first texture. The fugue is based on the hymn tune known as "St. Anne," and also has three major sections, the
first (Allebreve or cut time) based on the chorale, the second (with a time signature of 6/4) of a gentle rolling nature, and the third (in 12/8 time)
introduces a dancelike characteristic rhythm which is punctuated with glimpses of the hymn tune, which finally emerges triumphantly in the pedal at
the end. They are a towering monument amidst Bach's already impressive array of organ masterpieces.
Bosch-Schnitger Organ, Vollenhove/Overijssel (1686/1720) -
Samples by Prof. Helmut Maier
[15:55] (a=420 Hz)
HW2>3
- Bach, Johann Sebastian: Concerto in G Major, BWV 973
- Based on a violin concerto by Vivaldi, op. 7 book 2, no. 2. Three movements: [Allegro] - lower 8' + 4', upper 8' or Laute; Largo - RH
lower 4' played an octave lower, LH upper 8'; Allegro - Combination Pleno. Extra octave occasionally added in LH throughout.
Cembalo Mietke built by Jan Becicka workshop (2005)
Samples by Jiri Zurek
[6:25]
HW3
- Bach, Johann Sebastian: Jesu, meine Freude, BWV 713
- Fantasia for one manual, with the embedded chorale appearing in various voices in the long first section (Preastant 8' + Principael 4' + Octav 2').
The time signature abruptly changes to 3/8 for a gentle finish (Rohrfluit 8' + Principael 4').
Frans Caspar Schnitger Organ, Duurswoude/Frisland (1723) -
Samples by Prof. Helmut Maier
[3:50] (a=460 Hz)
HW2>3
- Bach, Johann Sebastian: Wenn wir in höchsten nöthen sein, BWV 641
- Chorale followed by Prelude with a highly ornamented melody over a somewhat subdued background. Another depressing Lenten text describing a place some
of us find ourselves in from time to time. Registration: Chorale Melody Orgue Mayor Clairon 8', two voices on Teclat d'Alt Flute 8' + Prestant 4' +
Flute 2' + Nazard 1-1/3', bass voice on Pedal Flute 16' + Montre 8'. For the Prelude the ornamented Chorale uses Flute 8' + Montre 8' + Octava 4
(both) + Flute 4' + Quint 2-2/3' + Octava 2' + Cornet, the Teclat d'Alt adds Bourdon 4', and the Pedal adds Octava 4'. Original tuning.
Caimari organ - Palma, Mallorca (1702) -
Samples by Jiri Zurek
[2:0] (a=408 Hz)
HW2>3
- Bach, Johann Sebastian: Vom Himmel Hoch, BWV 701
- Charming little bell-like setting of this Christmas hymn for one manual: Praestant 8' + Principael 4' + Octav 2' + Quintanus 1-1/2'.
Frans Caspar Schnitger Organ, Duurswoude/Frisland (1723) -
Samples by Prof. Helmut Maier
[1:19] (a=460 Hz)
HW2>3
- Bach, Johann Sebastian: Mit Fried' und Freud' ich fahr' dahin, BWV 616
- A perfect expression of the Nunc Dimittis, part of Das Orgelbüchlein (aka The Liturgical Year). Known in the Anglican liturgy as The Song of Simeon,
the text has a bit of the German Pietism which contrasts the travails of everyday life with the tranquility of death. ChoraleTeclat d'Alt Flute 8' +
Prestant 4', bottom voice on Organ Mayor Flute 8' + 2nd Octava 4', PD (end) Flute 16';
Prelude Top three voices Teclat d'Alt Flute 8' + Bourdon 8' + Flute 2', bottom manual voice O.M. Montre 8' + 2nd Octava 4, PD Flute 16' + Montre 8'.
+4dB, Original Temperament.
Caimari organ - Palma, Mallorca (1702) -
Samples by Jiri Zurek
[2:59] (a=408 Hz)
Midi file available.
HW2>3
- Bach, Johann Sebastian: Jesus Christus, unser Heiland (Fuga), BWV 689
- The last movement of the German Organ Mass, this four-voice fugue is to be played
on one manual. Articulation of the chorale is thus very important so it is clearly
recognizable. Registration: Manual Principale Bassi e Soprani + Ottava + Qvinta Decima + Decima IX + Vigesima II + Vigesima VI; Pedal Contrabassi used
on two organ points, the first being a deceptive cadence. -7dB output volume, WellTemperament-FifthComma.
Antegnati organ in St. Carlo, Brescia, Italia (16th-17th C.)
Samples by Jiri Zurek
Midi file available.
HW3
- Bach, Johann Sebastian: Valet will ich dir geben, BWV 735
- Fantasia on the German funeral tune which is often used in American churches with the words "All Glory, Laud and Honor" for Palm Sunday processions,
for full Hoofdwerk and Pedaal coupled to Rugpositief Dulciaan 8'.
Bosch-Schnitger Organ, Vollenhove/Overijssel (1686/1720) -
Samples by Prof. Helmut Maier
[3:12] (a=420 Hz)
HW2>3
- Bach, Johann Sebastian: Trio in G Major, BWV 1027a
- An arrangement of Allegro Moderato from a sonata for viola da gamba and continuo with the same BWV number, which itself was arranged from a Sonata for
two flutes and continuo and marked "Presto." Bach himself may have transcribed it for organ. Registration: Duet portions: RH Orgue Mayor Montre 8' +
Octava 4' + Cornet, LH Cromhorn 8' + Bassus et Dessus de Cornet, PD Flute 16' + Montre 8' + Octava 8'; Interlude portions: RH Orgue Mayor Flute 8' +
Flute 4' + Quint 2-2/3' + Octava 2, LH Flute 8' + Bourdon 4' + Flute 2' + Nazard 1-1/3' + Cymbal, PD Flute 16' + Montre 8'. 0 dB output volume.
Original tuning.
Caimari organ - Palma, Mallorca (1702) -
Samples by Jiri Zurek
[3:46] (a=408 Hz)
HW2>3
- Bach, Johann Sebastian: Canzona in D minor, BWV 588
- The opening theme is played in the pedal (Manuaal Praestant 8' permanently coupled to Pedaal Subbas 16'), the Manuaal continues with this theme; a
chromatic counter-theme is added and the subtle counterpoint works its way to a half cadence at slightly less than midpoint. The meter changes to from
4/4 to 3/2 ( Manuaal adds Principael 4') and a slightly different version of the theme is introduced on the Great, but with the same chromatic
counter-theme (slightly modified for the meter). Near the end (Manuaal adds Octaaf 2' + Quintanus 1-1'2') there is a deceptive cadence leading to a
two measure Adagio with a fuller registration (Manuaal adds Mixtuur 3 Sterck) to punctuate the ending.
Frans Caspar Schnitger Organ, Duurswoude/Frisland (1723) -
Samples by Prof. Helmut Maier
[5:23]
HW2>3
- Bach, Johann Sebastian: Alle Menschen müssen sterben, BWV 643
- Registration: Chorale Melody Orgue Mayor Montre 8' + Octava 4 + Octava 2' + Cornet, two voices on Teclat d'Alt Flute 8' + Prestant 4' + Flute 2',
Pedal Flute 16' + Montre 8' + Octava 4'. Repeat O.M.. Flute 8' + Flute 4' + Dessus de Cornet, Teclat d'Alt Flute 8' Bourdon 4' + Nazard 1-1/3'. Pedal
omit Octava 4'. For the prelude the Chorale is sounded on the Trompa 8' with Teclat d'Alt Flute 8' + Prestant 4' + Fourniture. The repeat uses the
O.M. Clairon 8' with Teclat d'Alt Flute 8' + Bourdon 4' + Flute 2' + Nazard 1-1/3'. Pedal as above. Original tuning.
Caimari organ - Palma, Mallorca (1702) -
Samples by Jiri Zurek
[2:28] (a=408 Hz)
HW2>3
- Bach, Johann Sebastian: Toccata and Fugue in E Major, BWV 566
- Divided into four sections, this early piece resembles, in form at least, the Preludes and Fugues of Buxtehude. The first section alternates manual or
pedal cadenzas with very dense suspended chords. Then follows a charming fughetta with a great deal of repetition following the circle of fifths. A
brief flourish for manuals in the third section ends with an even briefer pedal cadenza punctuated with 9-voice chords. The fourth section, in 3/4
time, is polyphonic with a catchy rhythmic subject. Brad Lehman Temperament, -11dB output volume, Impulse Reverberation added.
Schantz Organ at First Baptist Church of Riverside, California (1966) - Samples by Jonathan Orwig
[9:26]
HW2
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