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    Gottfried Silbermann Organ, Reinhardtsgrimma / Sachsen, Germany (1731) -
    Samples by Prof. Helmut Maier
    Bach, Johann Sebastian: Prelude and Fugue in C Major, BWV 545Download
    The prelude is full of suspensions and involves full Great and Pedal throughout. The Fugue is mostly exposition, with the subject often appearing unexpectedly; one time it begins in parallel thirds, but the lower voice abandons this treatment. [6:0] (A=465) HW1
    Pachelbel, Johann: Kommt her zu mir, spricht Gottes SohnDownload View Lyrics
    Trio (RH on Hauptwerk: Principal 8' + Quintadena 8' + Octava 4' + Spizfleute 5' + Octava 2'; LH on Hinterwerk: Gedacktes 8' + Rohrfleute 4' + Nasard 3' + Octave 2' + Terza 2' + Quinta 1 1/2) with Choral in the Pedal (Posaunen Bass 16' + Octaven Bass 8'). [1:47] (A=465) HW1
    Pachelbel, Johann: Was mein Gott will, das g'scheh' allzeit, 2nd SettingDownload View Lyrics
    Almost a trio, so I bent the rules a little by assigning the occasional 4th voice to either the left or right hand. Registration: LH Hinterwerk Gedacktes 8' + Rohrfleute 4' + Nassat 3' + Octava 2' + Tertia 2' + Quinta 1 1/2; RH Hauptwerk Principal 8' + Octava 4' + Octava 2'; Pedal Posaunen Bass 16'; repeat LH Hinterwerk Gedacktes 8' + Rohrfleute 4' + Octava 2' + Quinta 1 1/2; RH Hauptwerk Rohrfleute 8' + Octava 4''; Pedal Subbass 16' + Octaven Bass 8'. [2:40] (A=465) HW1
    Buxtehude, Dietrich: Toccata in F Major, BuxWV 157Download
    Whereas the previous work in the catalog was almost frenetic in its variety, this is almost quite repetitive, and divided into two discernible sections: the first alternates scaled passages with strong repeated chords and the second is a small fugue, which reiterates the repeated chords near the end. [4:20] (A=465) HW1
    Lübeck, Vincent: Nun lasst uns Gott dem HerrenDownload View Lyrics
    There are 6 verses set (verses 3 and 6 of the 8 verses available were omitted). Verses 1 and 2 are for two contrasting manuals plus double pedal. Verse 3 uses a running melody in the right hand and staccato chords in the left hand and pedal. Verse 4 for manuals alone, introduces a little 3-note motive and playful echoes between the manuals. Verse 5 is much like verse 3, and verse 6 ends the set quietly on two manuals. WAV file is available in RAR format: here (33.8 MB). [5:12] (A=465) HW1
    Bach, Johann Sebastian: Dies sind die heil'gen zehn Gebot', BWV 678Download View Lyrics
    Canonic treatment of the chorale melody sounded on the Hauptwerk: Principal 8 + Oktava 4 + Cornet 3 Fach, with the tender accompaniment played on Hinterwerk Gedacktes 8 + Rohrfleute 4 + Oktava 2; supported by Pedal Sub Baß 16 and Oktaven Baß 8. [4:45] (A=465) Midi file available. HW1
    Bach, Johann Sebastian: Jesus Christus, unser Heiland, BWV 666Download View Lyrics
    An exquisitely calm setting of a Lenten text for manuals alone, with a single pedal note underlying the ending. Registration: Prinzipal 8 + Spizfleute 4 + Schiebekoppel II-I; Hinterwerk Rohrfleute 4 ; Pedal 16 Sub baß [3:34] (A=465) Midi file available. HW1
    Buxtehude, Dietrich: Praeludium in G minor, BuxWV 163Download
    Many sections, some improvisatory, others fugal, alternating between manuals and with various time signatures. pedal notes added ad libitum. [7:26] (A=465) HW1
    Grigny, Nicolas De: Dialogue de Flûtes pour l'ElévationDownload
    This delicate dialogue is between three 8' flutes, each belonging to a division of a 3-manual organ. Subterfuge was used here, allowing the Hauptwerk to serve as both G.O. (Rohr Fleute 8') and later the Récit (Spizfleute 4' played an octave lower). The intervening flute is the Hinterwerk Gedacktes 8'. [1:56] (A=465) HW1
    Bach, Johann Sebastian: Concerto in G minor, BWV 975Download
    Based on Vivaldi's violin concerto, Op. 4, no. 6. Three movements: [Allegro] Tutti on HW: Quintadena 8' + Rohrfleute 8' + Octava 4' + Octava 2, Solo on Hinterwerk: Gedacktes 8' + Rohrfleute 4' + Octava 2' + Quinta 1 1/2, Pedal Subbaß 16' + Octaven Baß - Largo Solo (both hands) on Hinterwerk: Gedacktes 8' + Rohrfleute 4' + Nassat 3', Tutti on HW: Rohrfleute 8' + Octava 4', Pedal Subbaß 16' + Octaven Baß Giga RH on HW: Quintadena 8' + Rohrfleute 8' + Spizfleute 4' + Quinta 3', LH on Hinterwerk: Gedacktes 8' + Rohrfleute 4', no Pedal. [8:42] (A=465) HW1
    Hanff, Johann Nicolaus: Ach Gott, vom Himmel sieh dareinDownload View Lyrics
    Beautifully ornamented Chorale (Hauptwerk Principal 8' + Spizgleute 4' + Octava 2'+ Cornett 3 Fach; repeat Hinterwerk Gedacktes 8' + Rohrfleute 4' + Nassat 3' + Octava 2' + Tertia 2') with two manual voices (Hinterwerk Gedacktes 8' + Rohrffleute 4' + Qvinta 1 1/2'; repeat Hauptwerk Rohrfleute 8' + Qvintadena 8' + Spizfleute 4') and one pedal voice (Sub Baß 16' + Octaven Baß 8') in support. WAV file is available in RAR format: here (14.9 MB). [2:19] (A=465) HW1
    Bach, Johann Sebastian: Lob sei dem allmächtigen Gott, BWV 704Download View Lyrics
    Simple three-voice fughetta on an Advent chorale, played on a bright combination: HW Qvintadena 8' + Rohrfleute 8' + Spizfleute 4' + Octava 2'. [0:54] (A=465) HW1
    Bach, Johann Sebastian: Jesu, meine Freude, BWV 1105Download View Lyrics
    The melody hops from Soprano to Tenor to Bass voice, and after the repeat, three separate textures are used, joined by little florid passages. All in all, a lot is packed into a piece lasting little more than a minute. Fingering seemed impossible as a one-manual piece, so there is a separate pedal part. From the Neumeister Chorale Collection. [1:26] (A=465) HW1
    Pachelbel, Johann: Wo Gott der Herr nicht bei uns hält, 1st SettingDownload View Lyrics
    A trio with Chorale sounded in the Pedal. Hands are reversed for repeat. Registration: HW Rohrfleute 8' + Quintadena 8' + Spizfleute 4' + Octava 2'; Hinterwerk Gedacktes 8' + Rohrfleute 4' + Quinta 1 1/3; Pedal (Chorale) Octavenbass 8' (for repeat the HW Octava 2' and Hinterwerk Quinta 1 1/3' are dropped) [1:21] (A=465) HW1
    Walther, Johann Gottfried: Toccata con Fuga C-DurDownload
    Organ points in the Pedal support the Prelude until the ending, which contains a Buxtehude-like chromatic half measure. The Fugue is a very cheery affair with the only remarkable feature being some double pedal work in the middle. A "raw" test version with only two tempi and my regular articulation can be heard here. The extra clarity added by my special metric track added only 25 seconds to the overall performance. [6:25] (A=465) HW1
    Schumann, Robert: Canon 1, Op. 56Download
    The first of six canons written for Organ or Pedal Piano in 1845, this sunny work belies its very strict construction - a canon at the octave with a 2 beat interval between first and second voice, over a pedal part that shores up the harmony. Since the organ can sustain indefinitely, a few long notes in the pedal were joined rather than restruck every measure or two. Registration: Right Hand on Hauptwerk (Gamba 8' + Octav 4'); Left Hand on Hinterwerk (Grossgedeckt 8' + Salicional 8' + Flute D'Amour 4' + Flageolet 2'); Pedal Violonbass 16' + Octavbass 8'. [2:11] HW1