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    Gottfried Silbermann Organ, St. Georgenkirche / Rötha, Germany (1721) -
    Samples by Brett Milan
    Buxtehude, Dietrich: Komm, heiliger Geist, BuxWV 199Download View Lyrics
    Florid presentation of the chorale on full cornet, with gently repetitive ending. Registration: RH Chorale on Oberwerk Gedackt 8' + Quintadena 8' + Principal 4' + Nasat 3' + Octava 2' + Tertia 1 3/5; LH on Hauptwerk Principal 8' + Rohrflöte 8' + Spitzflöte 4'; Pedal Principal-Bass 16' + HW/PD Coppel. [3:2] (A=465) HW1
    Sweelinck, Jan Pieterszoon: Variations on Ich fuhr mich über RheineDownload
    Six variations on a secular song, with a short coda. [7:39] (A=465) HW1
    Bach, Johann Sebastian: Jesus Christus, unser Heiland, BWV 688Download View Lyrics
    Part of the German Organ Mass, this setting has a jazzy wedge-like motiv that moves between keyboards (HW [LH] Bordun 16' + Principal 8' + Octava 4' + Octava 2'; OW [RH] Gedackt 8' + Quintadena 8' + Principal 4' + Octava 2') with the chorale sounded slowly in the pedal Trommete 8'. [4:22] (A=465) Midi file available. HW1
    Buxtehude, Dietrich: Fuga in Bb Major, BuxWV 176Download
    Sectional fugue with repeated note in the first subject, alternating common meter and 12/8 with a dramatic moment or two. Though played only on the Hauptwerk division, the Bordun 16' and Principal Chorus with both mixtures give it an amazing breadth. [4:16] (A=465) HW1
    Buxtehude, Dietrich: Kommt her zu mir, spricht Gottes Sohn, BuxWV 201Download View Lyrics
    Somewhat sad setting of 16th century chorale tune with words based on Matthew 11:28: "Come unto Me, all you that labor and are heavy laden, and I will give you rest." Registration: RH Chorale Oberwerk - Tutti; LH Bordun 16' + Principal 8' + Octava 4' + Octava 2'; PD Posaune 16' + Pedal Coppel [2:23] (A=465) HW1
    Scheidt, Samuel: Wir glauben all' an einen GottDownload View Lyrics
    Though it starts like a 3 voice fughetta between Oberwerk and Pedal, the Chorale is soon sounded boldly on the Hauptwerk (including 16' Bourdon and Cornet). The very active Pedal part uses the Principal 16' + Trompette 8'. [2:30] (A=465) HW1
    Bach, Johann Sebastian: Ach Herr, mich armen Sünder, BWV 742Download View Lyrics
    The indications are Rückpositiv for the top voice, a highly ornamented version of the chorale, and Oberwerk for the two-voice accompaniment. Here the Oberwerk has been chosen for the Chorale (Gedackt 8' + Principal 4' + Nassat 3' + Octava 2' + Tertia 1 3/5' + Quinta 1 1/2) and the Hauptwerk Principal 8 provides the accompaniment. [1:44] (A=465) HW1
    Buxtehude, Dietrich: Praeludium in F# minor, BuxWV 146Download
    The first section opens with flourishes on the Hauptwerk over an organ point in the Pedal; this gives way to a homophonic, hymnlike section using downward-resolving suspensions in 3rds against an occasionally jarring chromatic bass line with one dramatic pause and a concluding flourish. The second section is marked Grave and is a sombre fughetta with a dotted note motive reminiscent of that used in the great G minor Prelude and Fugue. The third section, played on the Oberwerk, is marked Vivace and involves a playful and syncopated motive with the Pedal part being pulled down from the Hauptwerk. Though not marked as a section, flourishes recur, so the Hauptwerk is once again used. [7:8] (A=465) HW1
    Grigny, Nicolas De: Duo (Ave Maris Stella 3)Download
    The registration was clearly marked, but a shift of an octave was required to play it on this delightful instrument. RH on Oberwerk (Gedackt 8' + Octava 2' + Tertia 1 3/5); LH on Hauptwerk (Bordun 16' + Gedackt 8' + Quinta 3' - played an octave higher to approximate the requested Flutes 8 + 4 and Larigot). [2:19] (A=465) HW1
    Bach, Johann Sebastian: In Dir Ist Freude, BWV 615Download View Lyrics
    A bell-like motive in the pedal emphasizes the idea of ringing in the new year, supplemented by the new Zimbelstern recorded by Brett Milan. [2:35] (A=465) HW1
    Walther, Johann Gottfried: Preludio con Fuga C-DurDownload
    Mostly for manuals. The 16' Bourdon adds gravity to the Prelude, and the lighter Fugue skips between Hauptwerk and Oberwerk, until the ending, during which the manuals are coupled, the Hauptwerk is augmented, and the Pedal supports the final cadence. [7:5] (A=465) HW1
    Buxtehude, Dietrich: Praeludium in E minor, BuxWV 142Download
    Five major sections, the first two in Common Meter, ending with a very "blue" note that ushers in some heavy chromaticism in 3/2. The meter switches to Common again just 2 measures before a loud transitional passage ushering in a delightfully bouncy 12/8 motiv that continues to the end. [7:45] (A=465) HW1
    Sweelinck, Jan Pieterszoon: Variations on Pavana HispanicaDownload
    Eight colorful variations by the two composers. Variation 1 is by Sweelinck, Vars. 2-4 by Scheidt, Var. 5 by Sweelinck, Var. 6 by Scheidt, Vars. 7-8 by Sweelinck. [5:1] (A=465) HW1
    Krebs, Johann Ludwig: Praeludium et Fuga in C, Br I:01Download
    The prelude starts with virtuosic manual flourishes followed by a long pedal solo, then a long series of modulations with a few Krebsian quirks to let you know it's not Bach or Buxtehude. The fugue in 12/8 meter is based on a 3-measure dance-like motiv with a characteristic trill. Registration is roughly based on the presence or absence of the Pedal, but manual contrasts are fully utilized to showcase the subject. [8:17] (A=465) HW1