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, St. Georgenkirche / Rötha, Germany (1721) - Samples by Brett Milan Bach, Johann Sebastian: Prelude and Fugue in A minor, BWV 551 Another exuberant prelude and loosely constructed fugue from Bach's youthful period. Some of the terrace dynamics the Phantom Organist chose to implement add a slightly idiosyncratic effect to the rhythm, but that is a characteristic of this piece in general, where long chords are preceded by indeterminate periods of silence. [5:15] (A=465) HW1 Froberger, J. J.: Ricercare XII The basic motive has the outline of a triad and in the first section there are fugue-like entrances : Tenor, Alto, Soprano and Bass; Tenor, Alto, Soprano; Tenor, Soprano, Bass; cadence, played on Hauptwerk Principal 8' + Spitzflöte 4'. The second section uses the same motive but in 3/2 meter on the Oberwerk: Gedackt 8' + Quintadena 8' + Principal 4'. The cadence however is in alla breve meter, which is used for the third section on the Hauptwerk, to which the Cymbeln II have been added A new motive is used, consisting of three ascending notes with syncopations [2:21] (A=465) HW1 Walther, Johann Gottfried: Warum betrübst du dich, mein Herz Ornamented Chorale is sounded on the Hauptwerk (Principal 8' + Octave 4' + Cornet III), with chromatic and ornate underpinnings on the Oberwerk (Gedackt 8' + Quintadena 8' + Rohrflöte 4') and Pedal (Principal Bass 16'). [2:44] (A=465) HW1 Buxtehude, Dietrich: Praeludium in A Major, BuxWV 151 Jolly and witty and harmonically daring sectional prelude in an unusual key. The first track rendered on my newly resuscitated computer this 24th day of September, 2004. [7:51] (A=465) HW1 Walther, Johann Gottfried: Was Gott tut, das ist wohlgetan Two variations, the first quite clever on various flutes, the second in 3/2 meter with a quasi pedal in the left hand, two intertwining parts in the right, and the Chorale sounded in the Pedal. [2:46] (A=465) HW1 Boehm, Georg: Praeludium und Fuge in a moll Prelude consists of arpeggios punctuated with chords, organ points in Pedal at end (OW Principal 4' + Nasat 3' + Tertia 1 3/5' + Mixtur III + Sifflet 1' coupled to HW Bordun 16' + Principal 8' + Octava 4' + Octava 2' coupled to PD Posaune 16'). Fugue in 4 voices (OW Quintadena 8' + Octava 2' + Quinta 1 1/3' + Sifflet 1' coupled to HW Principal 8' + Octava 4' coupled to PD PrincipalBass 16') is based on a simple fetching subject, and ends with a Pedal passage (Posaune 16' + Trommete 8' added) and a cadence based on the first measure of the subject (Bordun 16' added to HW, coupler removed from PD). Couplings do not accumulate. [3:12] (A=465) HW1 Buxtehude, Dietrich: Nimm von uns, Herr, du treuer Gott, BuxWV 207 The tune also is known as "Vater Unser" and this setting consists of 4 verses, two for manual alone, a more elaborate pedal version with embellished chorale, and ending with a two-voice setting for manuals alone. [6:2] (A=465) HW1 Bruhns, Nicholas: Prelude in G minor Nicholas Bruhns (1665-1697) was one of the greatest organists and composers of his time, learned music from his father Paul Bruhns (1640-89?) who was the organist at Schwabstedt, and later studied composition and organ with Dietrich Buxtehude, whose influence is evident from this composition. Thanks to Gernot Wurst for the printed score. [1:37] (A=465) HW1 Buxtehude, Dietrich: Praeludium in E minor, BuxWV 143 Opens with a pedal solo then settles into a prolonged organ point in a pedal that no longer includes the reeds, with the opening motive being explored on the Hauptwerk. In Ms. 23 a fughetta emerges, based on a theme with a persistent repeated note and chromatic ending. It is fully expanded in passionate Buxtehude fashion. At Ms. 57, another fughetta starts with a similar subject but now on the Oberwerk and in triple meter. When the listener is sufficiently soothed and calmed, the pedal reed comes clammering in and the marking is Adagio, with plenty of dramatic space between events. The piece ends with another organ point in the pedal. [5:18] (A=465) HW1 Buxtehude, Dietrich: Praeludium in G Major, BuxWV 147 The score indicates the left hand for what would in similar pieces be a pedal cadenza followed by an organ point. A light-hearted short section follows, ending with rapid eccentric scalar flourishes. The meat of the piece is a four-voice fughetta that brings to mind J. S. Bach's St. Anne Fugue, but it ends with characteristic Buxtehude figuration and a final soprano flourish which is played against a chord on the Oberwerk in order to be heard more clearly. Score provided by Boris Mudrinic. [3:29] (A=465) HW1 Pachelbel, Johann: Magnificat Septimi Toni Eight fugues on the Magnificat in the Seventh Tone (one of the Church Modes). Number seven is the Phantom organist's favorite, here played on the Hauptwerk Principal 8'. [10:58] (A=465) HW1 Buxtehude, Dietrich: Nun lob mein Seel den Herren, BuxWV 214-215 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 Oberwerk 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. [9:5] (A=465) HW1