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    Gottfried Silbermann Organ, Reinhardtsgrimma / Sachsen, Germany (1731) -
    Samples by Prof. Helmut Maier
    Bach, Johann Sebastian: Valet will ich dir geben, BWV 736Download View Lyrics
    A funeral piece which celebrates life rather than deploring it. Unusual 24/16 meter, chorale in pedal. The tune is often used on Palm Sunday for the opening procession to the words "All Glory Laud and Honor." WAV file is available in RAR format: here (30.8 MB). [4:28] (A=465) HW1
    Walther, Johann Gottfried: Concerto del Signor ManciaDownload
    In four movements for two or 3 keyboards: Allegro played on Hauptwerk; Adagio - "Rückpositiv" played on Hinterwerk, "Oberwerk" played on Hauptwerk; Allegro played on Hinterwerk coupled to Hauptwerk. Judicious pedal added. [9:2] (A=465) HW1
    Buxtehude, Dietrich: Ich ruf zu dir, BuxWV 196Download View Lyrics
    Somewhat atypical setting for two more or less equal voices and non-cantus pedal with subtly varying meter and texture changes. Registration: RH HW Qvintadena 8' + Rohrfleute 8' + Spizfleute 4'; LH Hinterwerk Gedactes 8' + Rohrfleute 4' + Octava 2'; PD Subbaß 16' + Octaven Baß. [2:56] (A=465) HW1
    Buxtehude, Dietrich: Herr Christ der einig Gottes Sohn, BuxWV 192Download View Lyrics
    Moderate and expressive ornamentation in both chorale and accompaniment. Registration: Chorale on HW Principal 8 + Qvintadena 8 + Spizfleute 4' + Cornett 3-Fach; Hinterwerk Gedacktes 8 + Rohrfleute 4 + Nassat 3; Pedal Subbass 16 + Octaven Bass 8. [2:21] (A=465) HW1
    Bach, Johann Sebastian: Trio Sonata No. 2, BWV 526Download
    The Vivace starts with the two hands playing parallel thirds, followed by a scintillating dialogue, and coming together in thirds again to modulate to a different key. Interesting new ideas abound, and much use is made of trills and held notes. A single measure in the pedal transitions smoothly to an abbreviated form of the beginning. In the Largo long held notes in one hand intertwine with an expressive lyrical motive, underpinned by a prodding bass line. The Allegro has two main themes, the first bold and forthright, the second angular, almost brash, which provide contrasting sections but are not used together. Trills and held notes figure in this last movement as well. This track celebrates the addition of three notes to both manuals and pedal of the virtual organ, which accommodates a great deal of baroque organ repertoire. [11:44] (A=465) HW1
    Bach, Johann Sebastian: Was Gott tut, das ist wohlgetan, BWV 1116Download View Lyrics
    Cheerful setting of great simplicity, befitting the humble text. Registration: HW Rohrfleute 8' + Qvintadena 8' + Octava 4' + Octava 2'; repeat on Hinterwerk Gedacktes 8' + Rohrfleute 4' + Zymbeln 2 Fach; resume on HW Principal 8' + Octava 4' + Octava 2' + Mixtur 4 Fach [1:29] (A=465) HW1
    Bach, Johann Sebastian: O Mensch, Bewein' dein' Sünde Gross, BWV 622Download View Lyrics
    "[A]nother illustration of Bach's florid treatment of chorales containing the element of sadness. Words cannot begin to describe the depth of feeling expressed. It has been said by one who heard the statement, that M. Widor considered this the finest piece of instrumental music written. The expression, at the close, in music of the words 'Should bear our sins o'erwhelming load, the shameful cross enduring' is most striking. The climax on the upper B-flats is tremendous, and the dissonant relationships in the last line combined with the chromatic pedal is outstanding." -- Suggestions for interpretation by the editor, Albert Riemenschneider. The Phantom Organist as a young organ student had occasion to play this piece at St. John's Episcopal Church for the funeral of an important University of Southern California dignitary, and the procession arrived near the front just as the music slowed for the dramatic ending, an electrifying but chilling convergence. The Chorale is sounded on the Hauptwerk 8 Prinzipal + Spiz Fleute 4 + Cornett III Fach, with 16 Sub Baß and 8 Oktaven Baß in the Pedal and Hinterwerk Gedacktes 8 + Rohrfleute 4. [4:47] (A=465) Midi file available. HW1
    Zachau, Friedrich Wilhelm: Komm, heiliger Geist, Herre Gott, 2nd SettingDownload View Lyrics
    The didactic 4-voice polyphony (bass voice in the pedal) is mitigated a bit by dividing the piece into 7 sections, alternating manuals, balancing the pedal, and getting progressively quieter. [2:59] (A=465) HW1
    Bach, Johann Sebastian: Durch Adams Fall ist ganz verderbt, BWV 637Download View Lyrics
    One of the strangest chromatic treatments the Phantom Organist has ever conveyed, and yet it's just as Bach wrote it. The pedal skips in sevenths (depicting Adam's fall?) under the tortured chromatic changes, and it appears to change keys abruptly several times at the end (disorientation at being thrown out of Paradise?). Registration: HW: Prinzipal 8', Rohrfleute 8', Spizfleute 4', Octava 2', II-I; HIW: Quinta 1 1/2', Octava 2', Zymbeln 2f Ped: Subbass 16', Posaunenbass 16'. For the same track played on Hauptwerk 2, see: http://www.organartmedia.com/RGrimma-Demos.html [2:22] (A=465) HW1
    Buxtehude, Dietrich: Nun lob mein Seel den Herren, BuxWV 214-215Download View Lyrics
    Four sections, all in 3/2 meter. The first is on the Hauptwerk with the Chorale in the Pedal; the second is on the Oberwerk without Pedal; the third is on a fuller Hauptwerk without Pedal; and the fourth is on the Hauptwerk with the Hinterwerk coupled with Chorale appearing on the Pedal coupled to the Hauptwerk. The last section is only three voices, as opposed to four voices for all the others, and includes a brief section in slow triplets. It is unknown to me why it is incomplete and why it takes two numbers in the catalog. [9:38] (A=465) HW1
    Bach, Johann Sebastian: Allabreve in D Major, BWV 589Download
    This piece is named after a time signature, known to popular musicians as Cut Time (a C with a vertical line through it). It is an early work, resembling a fugue. There is some doubt that it was composed by Bach. [4:2] (A=465) HW1
    Pachelbel, Johann: Toccata in F Major (II)Download
    Rapid arpeggios sink into the series of organ points daringly played throughout on the Pedal Posaune 16'. There are two toccatas in this key: see the three current cataloguing systems, unfortunately tied to scores and recordings I don't own. [2:32] (A=465) HW1