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    Gottfried Silbermann Organ, St. Marienkirche / Rötha, Germany (1722) - Samples by Brett Milan
    Walther, Johann Gottfried: Meinem Jesum lass ich nichtDownload View Lyrics
    Chorale with 6 variations. [6:51] HW1
    Sweelinck, Jan Pieterszoon: Variations on Pavana PhilippiDownload
    Two extended variations, with multiple echo effects between Manuals 1 and 2 of this delightfully crisp Virtual Organ. There are several abrupt endings in the soprano part that are rendered "as written." [5:34] (A=465) HW1
    Pachelbel, Johann: O Lamm Gottes unschuldigDownload View Lyrics
    Relatively long introduction followed by the Chorale sounded in the soprano voice. Mostly on Manual II (Gedackt 8' + Rohrflöte 4' + Nassat 3'), with repeat of first portion of Chorale on Manual I (Principal 8'). [3:50] (A=465) HW1
    Bach, Johann Sebastian: Christum wir sollen loben schon, BWV 696Download View Lyrics
    Brief fughetta in four voices. No episodes, it's just about over as soon as it begins. [0:56] (A=465) HW1
    Bach, Johann Sebastian: Allein Gott in der Höh, BWV 664Download View Lyrics
    From the Leipzig Chorales (The 18), this sparkling trio is based on the chorale theme (often translated "To God Alone Be Glory"), which is briefly stated in the pedal at the end Registration: Man. 1: Principal 8 + Quinta 1 1/2 + Sufflöte 1; Man. 2: Gedackt 8 + Rohrflöte 4 + Nassard 3; Pedal 16 Subbass + II/Pedal coupler; for chorale at the end, the I/P coupler is added. [5:13] Midi file available. HW1
    Bach, Johann Sebastian: Prelude and Fugue in F minor, BWV 534Download
    Moving in mood from pensive to majestic to bravura, the Prelude is thought by some to be either the work of Johann Christian Kittel (1732-1809) or of Bach's eldest son Wilhelm Friedemann (1710-1784). The fugue subject has a characteristic trill that makes it easy to notice in the thickest of textures. However, in this version there is no trilling in the pedal. The registration is the same throughout, with manual contrast providing the only relief. With beautiful sounds like these, there really isn't much need for relief. Man. 1: Principal 8 + Octave 4; Man. 2 : 8 Gedackt + 4 Rohrflöte; Pedal Subbass 16 + II/P coupler. [9:14] (A=465) Midi file available. HW1
    Buxtehude, Dietrich: Praeludium in G minor, BuxWV 148Download
    Opens with Manual I flourishes over organ points in the Pedal. The next section labeled Allegro is a short transition of a chromatic bent which leads to a fughetta on a repeated note theme, played on Manual II. Then follows a rolling 3/2 section for three voices on Manual I and Pedal. Finally a 2-measure passacaglia theme enters in the Pedal, modulates a few times, and ends with a statement in Bb that shifts smoothly to a Phrygian cadence in the original key. [6:8] (A=465) HW1
    Bach, Johann Sebastian: Vom Himmel Hoch, BWV 701Download View Lyrics
    Charming little bell-like setting of this Christmas hymn for one manual. Registration: Gedackt 8' + Rohrflüte 4' + Octava 2'. WAV file is available in RAR format: here (8.2 MB). [1:18] (A=465) HW1
    Bach, Johann Sebastian: Kyrie-Christe-Kyrie, BWV 672-674Download View Lyrics
    There are "big" and "little" sections of Bach's German Organ Mass, referring to the big two manual and pedal instrument at one end of the church, and a small one-manual portativ elsewhere. These short pieces are for one manual and they've been bundled together as they might be used in an actual Lutheran Mass of Bach's time. The organist needs no assistance to change stops between movements. The first Kyrie is played on Gedackt 8 and Rohrflöte 4; for the Christe the Rohrflöte 4 is retired and the Oktava 4 is drawn; for the second Kyrie the Quinta 1 1/2 is drawn. [4:23] (A=465) Midi file available. HW1
    Walther, Johann Gottfried: Partita on "Jesu, Meine Freude"Download View Lyrics
    Nine variations on a beloved German chorale, known in English as "Jesus, all my gladness," revealing an engaging variety of moods and compositional techniques, as well as showcasing a wide variety of organ combinations. All but the ninth are played on the manuals with an occasional pedal note at cadences. This last variation brings the chorale melody out on full pedal coupled to a cornet in lieu of the usual reed for a satisfying conclusion. [13:13] HW1