UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! Gottfried Silbermann Organ, Reinhardtsgrimma / Sachsen, Germany (1731) - Samples by Prof. Helmut Maier Walther, Johann Gottfried: Concerto del Signor Blamont in A From this transcription it is evident that Signor Blamont was quite a cheerful chap. Adagio - Hinterwerk Gedacktes 8' + Rohrfleute 4' + HW Rohrfleute 8' coupled to PD Subbass 16'; Andante allegro - Hinterwerk Nassat 3' + Octava 2' + Suffleute 1' + Zymbeln 3-Fach coupled to HW Principal 8' + Octava 4' coupled to PD Subbass 16'; alternates often with Hinterwerk Octava 2' + Qvinta 2' coupled to HW Rohrfleute 8' + Octava 4' coupled to PD Subbass 16'; Pastorella - Hinterwerk Gedacktes 8' + Rohrfleute 4' + Nassat 3' + Octava 2' + Tertia 2'; HW Principal 8' + Spizfleute 4'; PD Subbass 16' + Octaven Bass 8' two repeats: Hinterwerk Gedacktes 8' + Nassat 3' + Tertia 2'; HW Qvintadena 8' + Spizfleute 4'; PD Octaven Bass 8' (reverts at end). [11:54] (A=465) HW1 Bach, Johann Sebastian: Canonic Variations on Vom Himmel hoch, BWV 769 A veritable tour de force of canonic treatments in 5 variations on the famous German Christmas hymn, one of two pieces submitted by Bach in 1746 with his application for membership in the Leipzig Society of Musical Sciences (he was admitted as the 14th member of that society in June of 1747). All for two claviers and pedal, the movements translate roughly from the Italian: Var. I Canon at the Octave (right and left hands), Var. II Canon at the Fifth (right and left hands), Var. III, Canon at the seventh (pedal and left hand), Var. IV Canon at the Octave through Augmentation (right hand and lower voice of left hand played half as fast), and Var. V, Other kinds of inverted canons: 1) at the sixth (right hand upright, left hand inverted), 2) at the third (right hand inverted, left hand upright, 3) at the second (pedal upright, lower voice of left hand inverted), 4) at the ninth (pedal inverted, upper voice of the right hand upright), and just for good measure a stretto of five voices over the concluding pedal point! [11:6] (A=465) HW1 Bach, Johann Sebastian: Kommst du nun, Jesu, vom Himmel herunter, BWV 650 The sixth and final Schübler Chorale, this infectiously bubbly transcription that derives from the second verse (alto solo) of Cantata 137, "Lobe den Herren, den mächtigen König der Ehren." Bach chose a different set of words for this chorale, though. Registration: Hinterwerk Gedacktes 8' + Rohrfleute 4' + Zymbeln 2 Fach; Hauptwerk Octava 4' + Spizfleute 4' coupled to Pedal. [3:6] (A=465) HW1 Bach, Johann Sebastian: Prelude in C Major, BWV 567 Actually by Johann Tobias Krebs, the composer of the Eight Little Preludes and Fugues. Registration: Manual I: Qvintadena 8' + Rohrfleute 8' + Spizfleute 4'; Pedal: Sub Bas 16 + Oktav Bas 8 [1:16] (A=465) Midi file available. HW1 Bach, Johann Sebastian: Nun laßt uns den Leib begraben, BWV 1111 Standard fughetta ending with a waltzing dance of joy at the thought of leaving the body behind, a typical Pietistic concept. Registration: Hands on Hinterwerk: Gedactes 8' + Rohrfleute 4' + Octava 2' + Qvinta 1 1/2; Hauptwerk Qvintadena 8' + Spizfleute 4' coupled to Pedal Subbass 16'; for waltz, Zymbeln II Fach is added to Hinterwerk, HW becomes Octava 4' coupled to Subbass 16' + Octaven Bass 8'. [1:59] (A=465) HW1 Buxtehude, Dietrich: Te deum laudamus, BuxWV 218 Virtuosic and quixotic, the movements are entitled Praeludium, Te Deum Laudamus, Te Martyrum candidatus laudat exercitus, Tu devito mortis aculeo and Pleni sunt coeli et terra. [11:32] (A=465) HW1 Buxtehude, Dietrich: Praeludium in F Major, BuxWV 144 There are two distinct sections to this prelude, the first on the Hauptwerk uses parallel thirds, syncopations, and brief pedal punctuation; the second, on the Hinterwerk, has a natty fugue subject which appears in all four voices; the move back to the Hauptwerk is not structural, it just seemed right to round it off that way. [3:1] (A=465) HW1 Boehm, Georg: Praeludium und Fuge in d-moll The Prelude opens with a Pedal solo, goes through a few chordal progressions, playing with the dotted rhythm that eventually permeates the Fugue, which starts in Common Time, is interrupted by rapid scalar passages, and reappears in 3/4 time. Some more bravura chords and then arpeggios proceed to a swift cadence. If you find yourself singing Handel's "How Beautiful are the Feet" from Messiah, perhaps it was suggested by the fugue subject. [4:44] (A=465) HW1 Bach, Johann Sebastian: Von Gott will Ich nicht lassen, BWV 658 A strong affirmation that nothing can separate us from God, even human free will. This demonstrates two ways to implement a Choral Bass effect on the Reinhardtsgrimma instrument. The Hauptwerk is coupled to the Pedal and first the 4' Oktava is drawn (with Hinterwerk 8' Gedacktes and 4' Rohrfleute playing the other parts), then for the repeat the 4 Spizfleute is drawn and played with the Hinterwerk Rohrfleute alone, a stunning contrast. The earlier registration is resumed when the repeat is finished. [3:45] (A=465) HW1 Bach, Johann Sebastian: Prelude and Fugue in C Major, BWV 547 The prelude possesses a strong drive with some characteristic Bach lyricism and elegant modulations. Galloping 9/8 rhythmic motive using Hauptwerk Principal Chorus and full pedal.The fugue starts on Hauptwerk with Principals 8-4-2 and goes to the Hinterwerk (Gedacktes 8 + Rohrfleute 4 + Nassard 3 + Oktava 2) for an episode. When playing resumes on the Hauptwerk division, the Mixtura 4 Fach has been added, and the subject in augmentation enters on Pedal, 16 Sub Baß + Oktaven Baß 8, coupled to the Hauptwerk, which uses the subject rectus and inversus for a stirring stretto.The Posaune Baß 16 is added for the first of several dramatic long chords, then the two manuals are coupled together, and finally the Hinterwerk Zymbeln 2 Fach crowns the ensemble just before concluding pedal point and last statement of the subject. Truly masterful counterpoint. [9:56] (A=465) HW1