UPDATED 03/18/2010

FEATURED INSTRUMENT CONCERT   Your support is necessary to continue this service. Even a small donation will help. Pedal Harpsichord - Samples by Brett Milan Krebs, Johann Ludwig: Trio in G, Br II:35 Lighthearted romp through several keys and textures with exceptionally active pedal part and some playful chromaticism. Uses Bradley Bach Temperament and Impulse Reverberation has been added. [3:20] HW1 Bach, Johann Sebastian: Gott der Vater wohn' uns bei, BWV 748 In this quaint arrangement, the running passages are sounded on the harpsichord, and the chorale melody is shows up on the Krumhorn or Cornet or both. The Pedal, which also plays the chorale melody, sort of grunts along in a detached fashion. [3:44] HW1 Krebs, Johann Ludwig: Fuga in Bb, Br II:20 Subject emphasizes the upward leap of a fourth, and could be construed as a fanfare, but it is not so grandiose as all that. Impulse reverberation added. Played on all stops, tuned to the Brad Lehman Temperament (BLT). [1:55] HW1 Walther, Johann Gottfried: Concerto del Signor Albinoni in F Three movements: Allegro (cheerful), Andante (pensive), Allegro (rollicking). Impulse reverberation added. Brad Lehman Temperament. [7:18] HW1 Krebs, Johann Ludwig: Trio in C, Br II:22 An ascending scale opens, a long trill closes the main idea of this trio. RH on Manual I, 8' + 4'; LH on Manual II, 8' + 4'; Feet on Pedal 16' + 8'. [2:49] HW1 Krebs, Johann Ludwig: Fugue in Fm, Br II:14 The stately descending chromatic subject enters with a distinctive counter subject and only deviates once, near the middle of the fugue, where the alto has an inverted and quickened form of the subject, but reverts to the original form through to the end. Impulse reverberation added. [1:57] HW1 Purcell, Henry: Suite 5 for Harpsichord The movements are Prelude, Almand, Courante, Saraband, Cebell [Gavot], Minuet, Riggadoon, Intrada, and March, many of which have been transcribed for organ. The Prelude begins almost as a two-voice fugue but about halfway through it begins to change textures frequently. The Almand is played alternately on the instrument's two 8' registers, sounded together and separately. The Courante adds the 4' register occasionally. The Sarabande alternates betwween the two 8' registers. The Cebell is rather jaunty with several misdirected notes that are accurately rendered according to my score, repetitions eventually invoke the harpsichord's entire resources. The Minuet begins on the 4' alone, which, being an octave higher, gives it a music box effect, answered by the regular pitch in the repeats. The Rigaudon sounds like a popular tune of the day, with a childish, sing-song quality. The Intrada was relabeled "Fanfare" by E. Power Biggs and given a da capo (that is, he repeated the first section again at the end); here the trumpet-like melody is on its own keyboard. The concluding March contains a few broken chords at the repeats, and resources are marshaled prudently so there is an appropriate buildup at the end. Remember, there are only three stops on this instrument. [10:17] HW1 Bach, Johann Sebastian: Prelude and Fugue in G Major, BWV 541 A cheerful and engaging pair, this Prelude and Fugue is rated G for General Audiences. I think the stretto (a technique where the fugue subject in a new voice begins before the old one ends, similar to a Round) at the end of the fugue is especially thrilling. [7:37] HW1 Krebs, Johann Ludwig: Trio in C, Br II:21 Marked Lento, but moving a little faster for the harpsichord, the jaunty theme is interspersed with lyrical and rhythmic passages, with the overall ABA form made clear through the registration (the 4' registers in the manuals and the 8' in the pedal are withdrawn for the middle section). [2:54] HW1 Bach, Johann Sebastian: Wer nur den lieben Gott lässt walten, BWV 691 This delicately ornamented, clavichord-like setting is in the handwriting of Bach himself. Here it is sounded entirely on the Buzard organ, then repeated on the Martin Harpsichord. [2:20] HW1 Pachelbel, Johann: Magnificat Sexti Toni Although there are ten fugues in all, the first is divided into three distinct sections, the middle one being what one would call an episode in later fugues (that is, it doesn't contain the fugue subject). Fugues 2 and 3 are in 12/8 meter and also make much use is made of repeated notes, which gives them a gentle bounce. Fugue 4 returns to common time, but not only continues the repeated notes but adds a snappy ornament to the subject. The subject for Fugue 5 has a sing-songy quality which seems best dealt with by playing very fast. Fugues 6 and 7 continue with the repeated note subject. Fugues 8 and 9 introduce a series of ascending fourths into the subject, and Fugue 10 has a reveille-like motiv which calls definite attention to every entrance. [13:56] HW1