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    Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) - Samples by Brett Milan
    Bruhns, Nicholas: Prelude in E minorDownload
    This Prelude has fugal elements but is basically a virtuoso showpiece. with incredibly varied rhythmic vitality, in many short sections with time signatures like 18/16 and 12/8, and makes great use of repeated notes and chords, [6:30] (A=465) HW1
    Buxtehude, Dietrich: Nun lob mein Seel den Herren, BuxWV 213Download View Lyrics
    Based on a chorale maddeningly close to the modern Doxology, these three verses might make the prelude, offertory and postlude of a modern service. The first is in two parts, the second is in three parts played on one manual, the third has two voices, each on its own manual, with the chorale slowly sounded on the pedal. [8:7] (A=465) HW1
    Bach, Johann Sebastian: Toccata, Adagio and Fugue in C Major, BWV 564Download
    A rambunctious early piece, with an ethereal middle movement (the Adagio in A minor is often used by itself with a soft ending) that modulates rather sternly into the key of C again for a playful fugue. A minimum of registration changes seems to suit this piece perfectly. The fugue had a few overlapping notes which might have prevented using a pedal coupler, but they were easily dealt with by shortening or omitting a few notes. Also in the fugue, the Oberwerk was coupled to the Hauptwerk so the timbre of the Pedal didn't exactly duplicate the manual. Another lesson in how organs were used in those days. [14:10] (A=465) HW1
    Buxtehude, Dietrich: Praeludium in E Major, BuxWV 141Download
    Sudden flashes of improvisatory brilliance. One of the fughetta sections is modeled on a tune very like St. Anne. [4:49] (A=465) HW1
    Bach, Johann Sebastian: Christ unser Herr zum Jordan kam, BWV 684Download View Lyrics
    The rolling bass line in the left hand supports the right hand, which artfully combines two voices in a sublime dialogue, while the chorale is sounded in the pedal. Registration: To begin, left hand on Hauptwerk (Bordun 16' + Principal 8' + Spitzflöte 4'), right hand on Oberwerk (Gedackt 8' + Rohrflöte 4' + Quinta 1 1/2); for the repeat the Hauptwerk Principal 8 replaced by the Rohrflöte 8 and the Oberwerk is supplemented by the Quintadena 8' and Principal 4'. The original sounds are resumed after the repeat. The Trommete 8' in the pedal sounds the chorale throughout. [5:7] (A=465) Midi file available. HW1
    Boehm, Georg: Auf meinen lieben GottDownload View Lyrics
    Chorale and four attractive variations. Registration: Chorale on Hauptwerk with pedal doubled (Principal 8' + Octava 4'); Var. 1 RH on Oberwerk (Gedackt 8' + Principal 4' + Nasat 3' + Octava 2' + Tertia 1 3/5'); Var. 2 alternates between Hauptwerk (Principal 8' + Octava 4' + Spitzflöte 4' + Octava 2' + Cymbeln II) and Oberwerk (Gedackt 8' + Principal 4' + Octava 2' + Quinta 1 1/2'); Var. 3 LH running bass on Hauptwerk (Bordun 16' + Rohrflöte 8' + Spitzflöte 4') Chorale and added voice on Oberwerk (Quintadena 8' + Rohrflöte 4' + Nasat 3' + Tertia 1 3/5'); Var. 4 RH on Hauptwerk (Principal 8' + Octava 4' + Spitzflöte 4'), LH on Oberwerk (Gedackt 8' + Quintadena 8' + Principal 4' + Rohrflöte 4'), Pedal (Principal Bass 16' + Pedal Coppel). [8:18] (A=465) HW1
    Bach, Johann Sebastian: Concerto in C Major, BWV 976Download
    Based on Vivaldi's violin concerto, Op. 3, no. 12. Three movements: [Allegro] - Largo - Allegro. Distinctions preserved were Tutti (Forte and Piano), and Solo. [10:38] (A=465) HW1