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UPDATED 05/12/2008
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- Karg-Elert, Sigfrid: Herr, wie du willst, so schick's mit mir, Op. 65, No. 36
- The Pedal is used mostly as an organ point, with beautiful expansive arpeggios on Choir and Swell surrounding the Chorale, which is sounded on the
Great.
E.M. Skinner Organ, Opus 719 at Our Lady of Mount Carmel - Chicago, Illinois (1928) - Samples by Brett Milan
[3:48]
HW1
- Karg-Elert, Sigfrid: Sollt' ich meinem Gott nicht singen?, Op. 65, No. 22
- Three manual organ part simulated on two using Generals. The Chorale is sounded first in the soprano part on the Great, then repeated in tenor
register on the Hinterwerk Clarinet against Hauptwerk Flauto 8'. The last phrase is shared between the upper pedal part and then the Clarinet/Flauto
combination. which is echoed on the Flauto alone with gentle pedal ending.
F. X. Engelfried Organ, Gönningen/Baden-Württemberg/Germany (1844) - Samples by Prof. Helmut Maier
[2:46]
HW1
- Karg-Elert, Sigfrid: Wachet auf, ruft uns die Stimme, Op. 65, No. 33
- Festive and extroverted setting that puts one in mind of Wagner's overture to Die Meistersinger.
Schantz Organ at First Baptist Church of Riverside, California (1966) - Samples by Jonathan Orwig
[4:12]
HW1
- Karg-Elert, Sigfrid: Ach Gott und Herr, Op. 65, No. 34
- The gentle rocking accompaniment is derived from the first 4 notes of the Chorale, and is used in both inversions. Chorale appears in the pedal.
Chromatic alterations and dynamic instructions point it in the sentimental direction despite these Baroque devices. Impulse reverberation added. WAV
file is available in RAR format: here (9.3 MB).
Jackson/Brown & Arkley at St. Stephens Anglican, Penrith, NSW, Australia (1877/1977) -Samples by Nicholas Appleton
[1:50]
HW1
- Karg-Elert, Sigfrid: Herr und Ältster deiner Kreuzgemeinde, Op. 65, No. 14
- Billed as a Fughetta with a tempo indication of "Adagissimo e sempre teneramente," this is the only piece I have ever encountered with the time
signature of 24/32. The text seems to be "lost Moravian." Registration: Principale Bassi et Soprani + Fiffaro (withdrawn at end; Contrabassi in Pedal
for last note).
Antegnati organ in St. Carlo, Brescia, Italia (16th-17th C.)
Samples by Jiri Zurek
HW3
- Karg-Elert, Sigfrid: Wie schön leuchtet der Morgenstern, Op. 65, No. 44
- Gentle and expressive setting using the Choir Clarinet for the chorale, except for the repeat, where it is deftly interwoven with the figurations on
the Swell (Rohrflute 8' + Gambe 8' + Voix Celeste 8'). The Pedal uses Rohrgedackt 16' (borrowed from Swell) and Nachthorn 8'. Bradley Lehman
Temperament. (Output +6dB)
Schantz Organ at First Baptist Church of Riverside, California (1966) - Samples by Jonathan Orwig
[1:12]
HW2
- Karg-Elert, Sigfrid: Jesu, hilf siegen, Op. 65, No. 26
- Composer's adjectives: "Adagissimo, divoto, ligato, espressivo." Registration: Zwelwerk Gemshoorn 8' + Blokfluit 4' (withdrawn at end) + Tremulant,
coupled to HW Holpijp 8' and PD Subbas 16'. Impulse reverberation added.
Vermeulen Brothers Organ at Congregation "Vloedschuur," Heteren, Holland (1959) - Samples by Hauptwerk.nl
[1:24]
HW1
- Karg-Elert, Sigfrid: Jesu, meine Freude, Op. 65, No. 38
- The first 4 measures of the chorale are used as a Passacaglia theme, and tempo indications change with each 4-measure variation. Registrations
increase from the barely discernible to full organ, the first 11 combinations being reversed at the end of the first half to give a crescendo pedal
effect. Another set of variations follows, which includes a few modified from the first half. This time the dynamic curve is all in the loud
direction.
The organ of Boezemkerk in Bolnes (Ridderkerk) Holland (1959) -
Samples by Hauptwerk.nl
[4:37]
HW2>3
- Karg-Elert, Sigfrid: O Welt, ich muß dich lassen, Op. 65, No. 21
- Subtitled "Canzone," a melody that is based on a chorale soars out on Hauptwerk foundations, with cradle-rocking 12/8 rhythm in the Swell and Pedal.
Vladimir Grygar Organ at Church of the Holy Cross in Litomysl, Czech Republic (2001) - Samples by Jiri Zurek
[1:42]
HW1
- Karg-Elert, Sigfrid: Nun lasst uns Gott dem Herren, Op. 65, No. 31
- Subtitled "Allemande" but with unusual bravura, even for this composer. Impulse reverberation added.
The Casavant Frères organ (opus 2871) at St. George's Memorial Anglican Church Oshawa, Ontario, Canada (1966) - Samples by Ken Bales
[2:54]
MO
- Karg-Elert, Sigfrid: Nach einer Prüfung kurzer Tage, Op. 65, No. 30
- Chromatic balm for one who has been through some kind of trauma, this setting, marked "Andantino con molt' espressione." uses Swell flutes and strings
coupled to a delicious Pedal with a very brief passage on the Choir. An attempt at simulating a crescendo pedal was as smooth as I could make it, and
the marking "with religious fervor" was observed at the end.
E.M. Skinner Organ, Opus 719 at Our Lady of Mount Carmel - Chicago, Illinois (1928) - Samples by Brett Milan
[1:50]
HW1
- Karg-Elert, Sigfrid: Herzlich lieb hab ich dich, o Herr, Op. 65, No. 15
- Delicate setting with the Chorale apt to appear anywhere and mostly registered as the composer wanted, with the exception of the Trompete, which, if
included, might have destroyed the mood. Wait for the last chord! Impulse reverberation added.
Schantz Organ at First Baptist Church of Riverside, California (1966) - Samples by Jonathan Orwig
[2:50]
HW1
- Karg-Elert, Sigfrid: Mach's mit mir, Gott, nach deiner Güt', Op. 65, No. 29
- Canon at the octave between Zwelwerk Schalmei + other stops and top voice of the Hoofdwerk. Somewhat baroque sounding, but so rich and rapid that you
may not take it all in the first hearing.
Vermeulen Brothers Organ at Congregation "Vloedschuur," Heteren, Holland (1959) - Samples by Hauptwerk.nl
[0:59]
HW1
- Karg-Elert, Sigfrid: Freu dich sehr, O meine Seele, Op. 65, No. 5
- The tempo indicated is Alla Sarabanda, a gentle 3/4 meter, The only explicit sounding of the chorale is the last phrase at the end. Impulse
reverberation added.
Orgue de salon (1988)
Samples by Eric Bricet and Jean Yves Garet
[1:39]
HW1
- Karg-Elert, Sigfrid: Vom Himmel Hoch, Op. 65, No. 10
- From the expressive flutes of the Great with romantic sounds from the Swell coupled to the sweetness of the Choir and a grand crescendo to full organ
at the end, this setting, marked "Andante amoroso," explores the full sonic range of the organ. Impulse reverberation added.
Schantz Organ at First Baptist Church of Riverside, California (1966) - Samples by Jonathan Orwig
[2:0]
HW1
- Karg-Elert, Sigfrid: Komm, Heiliger Geist, Herre Gott, Op. 65, No. 39
- Pretty much a neobaroque treatment with the Chorale in the Soprano throughout, but with a surprise ending. WellTemperament-Young
The organ of Boezemkerk in Bolnes (Ridderkerk) Holland (1959) -
Samples by Hauptwerk.nl
[2:5]
HW2>3
- Karg-Elert, Sigfrid: Dir, dir, Jehovah, will ich singen!, Op. 65, No. 24
- The Chorale melody hops between manuals and pedal, ending in eight voices including double pedal. Impulse reverberation added.
Vermeulen Brothers Organ at Congregation "Vloedschuur," Heteren, Holland (1959) - Samples by Hauptwerk.nl
[2:2]
HW1
- Karg-Elert, Sigfrid: Erschienen ist der herrlich Tag, Op. 65, No. 25
- Initial imitation between Soprano and Tenor voices emphasizes the fanfare implicit in the Chorale. Nine-voice chords at the end test the limits of
human hearing.
Schantz Organ at First Baptist Church of Riverside, California (1966) - Samples by Jonathan Orwig
[1:16]
HW2>3
- Karg-Elert, Sigfrid: Valet will Ich dir gegeben, Op. 65, No. 11
- The Chorale appears from time to time in the Pedal, where it is given more sonic prominence according to the composer's instructions. Registration: SW
Rohrflute 8' + Octave 4'; CH Erzahler 8' + Unda Maris 8' + CH-CH 4' coupler (with and without the SW Voix Celeste 8'); GT Harmonic Flute uncoupled; PD
Lieblich Gedackt 16' + Nachthorn (or Octave 8' to highlight the Chorale).
Schantz Organ at First Baptist Church of Riverside, California (1966) - Samples by Jonathan Orwig
[2:3]
HW1
- Karg-Elert, Sigfrid: Ich dank dir, lieber Herre, Op. 65, No. 37
- Subtitled "Antiphone," this energetic piece simulates Great, Swell and Choir in terrace fashion using two stops of the GT to represent the CH.
WellTemperament-Kellner.
The organ of Boezemkerk in Bolnes (Ridderkerk) Holland (1959) -
Samples by Hauptwerk.nl
[2:23]
HW2>3
- Karg-Elert, Sigfrid: Christe, Du Lamm Gottes, Op. 65, No. 46
- "Written in the style of Pachelbel", tempo is "Grave alla Sarabanda." Registration: Hauptwerk Principal 8' + Octav 4'; Viola di Gamba 8'; coupled to
Positiv Spitzfleute 4'; repeat; end on Viola di Gamba. Impulse reverberation added.
Johann Adam Ehrlich organ at Evangelische Stadtkirche / Bad Wimpfen, Germany (1748) - Samples by Gernot Wurst
[3:4] (a=468 Hz)
HW1
- Karg-Elert, Sigfrid: Aus meines Herzens Grunde segen, Op. 65, No. 2
- A pastorale written for 3 manuals, registered for two manuals thus: Hauptwerk: Viola di Gamba 8' + Principal 8'; Hinterwerk as Swell: Geigenprincipal
8; Hinterwerk as Choir: Flauto Amabile 8' + 4'; Pedal: Subbass 16' + Violon 8'. At end, Hauptwerk Gedact 8'; Hinterwerk Flauto amabile 8'; Pedal
Subbass 16' + Gedactbass 8'
F. A. Mehmel Village Church Organ, St. Andreas Church, Nehringen Mecklenburg-Vorpommern, Germany (1868) - Samples by Prof. Helmut Maier
[2:28]
HW1
- Karg-Elert, Sigfrid: Ich dank dir schon durch deinen Sohn, Op. 65, No. 19
- The composer specifies three tempos and volume levels for each of the three verses of this "Choraltrio." Impulse reverberation added.
The Casavant Frères organ (opus 2871) at St. George's Memorial Anglican Church Oshawa, Ontario, Canada (1966) - Samples by Ken Bales
[3:45]
MO
- Karg-Elert, Sigfrid: Herzliebster Jesu, Op. 65, No. 17
- "In the style of Heinrich Schütz," 5-voices, 3 enclosed manuals and pedal are simulated on one very large manual with two expression pedals. Tempo
indication: Largo doloroso. Very expressive writing with plenty of suspensions, ending on an open 5th. Special custom ODF (based on the 1.5 FB Fonds,
but with 16' Gamba on Choir).
E.M. Skinner Organ, Opus 719 at Our Lady of Mount Carmel - Chicago, Illinois (1928) - Samples by Brett Milan
[3:30]
HW1
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