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    Casavant, Opus 3246 (1975) at Grace Lutheran Church, Champaign, Illinois - Samples by Brett Milan
    Bach, Johann Sebastian: Fantasy with Imitation in B minor, BWV 563Download
    One of Bach's simpler efforts, the Fantasia is in common time, the Imitatio in 3/4 time. [3:48] HW1
    Bach, Johann Sebastian: Canzona in D minor, BWV 588Download
    The opening theme is played in the pedal the Great continues with this theme; a chromatic counter-theme is added and the subtle counterpoint works its way to a half cadence at slightly less than midpoint. The meter changes to from 4/4 to 3/2 and a slightly different version of the theme is introduced on the Great, but with the same chromatic counter-theme (slightly modified for the meter). Near the end there is a deceptive cadence leading to a two measure Adagio with a fuller registration to punctuate the ending. [5:4] HW1
    Bach, Johann Sebastian: Wenn wir in höchsten Nöten, BWV 668Download View Lyrics
    The famous last piece of Bach, dictated in a darkened room to his son-in-law Altnikol. The simplicity of this setting is nevertheless laden with the circumstance of its writing. There is some controversy over this story, however. [4:13] Midi file available. HW1
    Bach, Johann Sebastian: Allabreve in D Major, BWV 589Download
    This piece is named after a time signature, known to popular musicians as Cut Time (a C with a vertical line through it). It is an early work, resembling a fugue. There is some doubt that it was composed by Bach. [4:33] HW1
    Buxtehude, Dietrich: Prelude and Fugue in G minor, BuxWV 149Download
    The Prelude and Fugue in G minor is a rollicking precursor to the great organ preludes and fugues of J.S. Bach, but instead of two separate movements, it consists of four contrasting sections, the last of which is an exquisite fugue. [7:51] HW1
    Bach, Johann Sebastian: Trio Sonata No. 2, BWV 526Download
    The Vivace starts with the two hands playing parallel thirds, followed by a scintillating dialogue, and coming together in thirds again to modulate to a different key. Interesting new ideas abound, and much use is made of trills and held notes. A single measure in the pedal transitions smoothly to an abbreviated form of the beginning. In the Largo long held notes in one hand intertwine with an expressive lyrical motive, underpinned by a prodding bass line. The Allegro has two main themes, the first bold and forthright, the second angular, almost brash, which provide contrasting sections but are not used together. Trills and held notes figure in this last movement as well. [10:40] HW1
    Bach, Johann Sebastian: Prelude and Fugue in D minor, BWV 539Download
    The Prelude, for manuals alone, is published in a popular wedding album, and so has been heard often. I doubt that many have dealt with the fugue, which is unusual in that the pedal seems to be nearly always present, and the arpeggiated episodes put one in mind of an Italian concerto. It is actually transcribed from the second movement of BWV 1001, Sonata No. 1 for Solo Violin in G minor (along with BWV 1000, transcribed for solo Lute). Thanks to Graham Pearce for telling me this. [6:41] HW1
    Bach, Johann Sebastian: Trio in G Major, BWV 586Download
    Transcription by Bach of a trio for two melody instruments and continuo by Telemann. [4:21] HW1
    Bach, Johann Sebastian: Fugue in C minor, BWV 575Download
    This is an extremely playful early fugue of Bach. The subject is hesitant to proceed, but when all four measures are through, you pretty well know it is a fugue subject. The adagio at the end just continues the surprises. [4:0] HW1
    Bach, Johann Sebastian: Prelude and Fugue in A minor, BWV 551Download
    Another exuberant prelude and loosely constructed fugue from Bach's youthful period. [4:47] HW1
    Grigny, Nicolas De: Offertoire sur les Grands JeuxDownload
    Two major sections, in Common Meter and 6/4 time. Four manuals are specified but actually 3 manuals are sufficient. A rather extensive series of manual changes culminates in an organ point and final cadence ending on the dominant chord (the A below bottom C in the Pedal was not available). Uses a custom version of Grace Lutheran Casavant with added impulse reverberation. [8:28] HW1