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    Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) -
    Samples by Brett Milan
    Buxtehude, Dietrich: Praeludium in F Major, BuxWV 145Download
    The most arresting feature of this "prelude" is a fugue on a simple repeating major second, showing how the simplest materials can be made into boldly virtuosic sounding displays. It sounds like it's in F# because of the Chortone. [5:49] (A=465) HW1
    Buxtehude, Dietrich: Praeambulum in A minor, BuxWV 158Download
    Section 1: In common meter, with showy keyboard flourishes over very a slowly changing pedal part. Section 2: Fughetta on a short theme (1 measure) which alters form rhythmically in the 16th measure but reverts to the first form near the end. Section 3: The theme of section 2 is transformed into a longer one for this section in 6/4 time. The concluding 5 measures return to common meter and mild keyboard flourishes as the beginning. [4:42] (A=465) HW1
    Pachelbel, Johann: Toccata in D MajorDownload
    This short keyboard piece uses the Hauptwerk (Rohrflöte 8' + Spitzflöte 4' + Octava 2') for the right hand, and the Oberwerk (Gedackt 8' + Octava 4' + Quinta 1 1/2') for the left. [0:57] (A=465) HW1
    Walther, Johann Gottfried: Concerto del Signor TagliettiDownload
    Rythmically intense, hands on separate manuals except for the last of four movements: Grave, e Solo: RH OW Gedackt 8' + Principal 4' + Nasat 3' + Tertia 1 3/5', LH HW Rohrflöte 8' + Spitzflöte 4'; Allegro: RH HW Principal 8' + Octava 4' + Quinta 3' + Octava 2', LH OW Gedackt 8' + Principal 4' + Octava 2' + Quinta 1 1/2'; Adagio à 2 Clav.; RH OW Quintadena 8' + Rohrflöte 4' + Nasat 3 + Teria 1 3/5', LH HW Rohrflöte 8' + Spitzflöte 4' + Quinta 3' + PD Principalbass 16'; and Allegro: OW Quintadena 8' + Principal 4' + Octava 2' + Quinta 1 1/2' + Mixtur III coupled to HW Principal 8' + Spitzflöte 4 which is coupled to PD Principalbass 16'. [8:5] (A=465) HW1
    Buxtehude, Dietrich: Erhalt uns, Herr, bei deinem Wort, BuxWV 185Download View Lyrics
    Forthrightly ornamented chorale melody on the Hauptwerk (Principal 8 + Spitzflöte + Cornet III) accompanied by Oberwerk Gedackt 8' + Rohrflöte with Pedal Principal 16'. The scurrilous text reflects the cultural bias of the age, though sadly some still hold these views. [1:43] (A=465) Midi file available. HW1
    Buxtehude, Dietrich: Danket dem Herrn, BuxWV 181Download View Lyrics
    Three variations on the chorale, the first on one manual; the second with the chorale sounded in the pedal (Trommete 8'), a quasi bass part in the left hand, and a cheerful motif running through the right hand; the third again uses the pedal for the chorale (Posaune 16' added to pedal), and a sort of two-part invention sounded on one manual, with a harmonically arresting cadence. [3:17] (A=465) HW1
    Buxtehude, Dietrich: In dulci jubilo, BuxWV 197Download View Lyrics
    Moderately ornamented chorale brought out on a cornet combination consisting of Oberwerk Gedack 8' + Quintadena 8' + Principal 4' + Nassat 3' + Tierce 1 3/5'; accompanied on Hauptwerk: Rohrflöte 8' + Spitzflöte 4'; Pedal: Principal 16'. [1:59] (A=465) Midi file available. HW1
    Bach, Johann Sebastian: Concerto in C Major after Vivaldi, BWV 594Download
    Arrangement of Vivaldi's Concerto Op. 7 No. 5 for violin and bass continuo, RV 208. The exciting first movement and expressive recitative give way to an Allegro which is essentially a Rondo, with many playful, virtuosic diversions including a very long solo at the end. [19:19] (A=465) HW1
    Buxtehude, Dietrich: Praeludium in G minor, BuxWV 150Download
    The pedal of only three stops is used in many combinations, with or without coupler, thus displaying its amazing versatility. [6:33] (A=465) HW1
    Bach, Johann Sebastian: Passacaglia and Thema Fugatum, BWV 582Download
    Bach uses an 8 measure theme, unlike traditional 4-measure passacaglias of earlier composers, and works as much with the harmony as the melody, so this piece may be better thought of as a chaconne. Rather than stop at the Passacaglia and restart the Thema Fugatum as many performances do, I followed the advice of Russ Davis, who says, in part: "Contrary to popular misconceptions, the work is, per the Schmieder catalog, as well as the obvious structure in the score itself, a Passacaglia with the final variation being a fugal one, rather than a Passacaglia with a separate Fugue." View registration information here. [12:22] (A=465) HW1