UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! Casavant, Opus 3246 (1975) at Grace Lutheran Church, Champaign, Illinois - Samples by Brett Milan Bach, Johann Sebastian: Trio Sonata No. 1, BWV 525 The first of six pieces written by Johann for his eldest son Wilhelm Friedeman Bach, to learn keyboard technique. He may have practiced them on a two manual and pedal clavichord. But the sounds are delightful, and organists still study and perform them. The subject of the Allegro moderato (not marked as such by Bach] consists of a series of triads in the manuals, punctuated by the pedal, which occasionally joins in the subject, which is turned upside near the end of the movement. The Adagio is a lyrical duet between the two hands which swoop over one another on their own manual keyboards. Both sections repeat with different registrations. The closing Allegro has a jumpy octave theme which is echoed in all three voices, and again contains two repeated sections. [13:29] HW1 Bach, Johann Sebastian: Liebster Jesu, wir sind hier, BWV 731 All in all, a very lovely interpretation of one of Bach's favorite chorales. In the second half, the chorale momentarily turns into an obbligato (the real melody is hidden in the lower voices). [1:19] HW1 Bach, Johann Sebastian: Christ unser Herr zum Jordan kam, BWV 684 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 on the pedal Trumpet. [4:54] Midi file available. HW1 Bach, Johann Sebastian: Das Alte Jahr vergangen ist, BWV 1091 Played on one lonely flute, with a single 16' stop duplicating the bass line. Like the more famous setting in the Liturgical Year, Bach expresses sadness at the passing of the old year. From the Neumeister Chorale Collection. [2:42] HW1 Bach, Johann Sebastian: Schmücke Dich, BWV 759 A lovely trio, apparently by Bach's pupil, Gottfried August Homilius (1714-1785). The solo stops are 8 Principal with Sesquialtera on the Great organ, Principal alone for the repeat. [2:34] HW1 Bach, Johann Sebastian: Ich hab mein Sach Gott heimgestellt, BWV 707 Strange and powerful angular outburst of blind commitment to fate, prepared on a rainy day in troubled times. [3:2] HW1 Bach, Johann Sebastian: Prelude and Fugue in G Major, BWV 550 The prelude contains one unifying theme, which is utilized in a long pedal cadenza, interrupted by a transition marked with the tempo indication "Grave" and followed by a Fugue "Alla breve è staccato" which is quite reminiscent of the "Gigue Fugue" in the same key. [7:40] HW1 Bach, Johann Sebastian: Herzlich Lieb hab Ich Dich, BWV 1115 The Phantom Organist has created some innovative registrations to highlight the chorale, and a surprising finish. From the Neumeister Chorale Collection. [2:48] HW1 Bach, Johann Sebastian: Herr Gott, Nun Schleuss den Himmel Auf, BWV 1092 There are a couple of echo effects, and a flourish near the end that is reminiscent of other chorale harmonizations. The Phantom Organist, as is his wont, has added some ad lib pedal notes. From the Neumeister Chorale Collection. [2:13] HW1 Bach, Johann Sebastian: Wir glauben all an einen Gott, BWV 1098 A full setting on the majestic chorale tune associated with the German creed, with the bottom voice sounded on the pedal. From the Neumeister Chorale Collection. [2:7] HW1 Bach, Johann Sebastian: Du Friedefürst, Herr Jesu Christ, BWV 1102 The bass line is sort of a repeating ground bass, the melody is heavily ornamented, and the 'Allegro' marking in the middle stimulates a riotous ending. From the Neumeister Chorale Collection. [1:58] HW1 Bach, Johann Sebastian: Erhalt uns, Herr, bei deinem Wort, BWV 1103 A most straightforward setting of a chorale associated with a scurrilous text that modern people may want to ignore. From the Neumeister Chorale Collection. [1:17] HW1 Bach, Johann Sebastian: Aus der Tiefe ruf ich, BWV 745 The text is probably based on Psalm 130, and the tune is often sung during Lent as "Forty days and forty nights." A full harmonization of the chorale precedes an arpeggiated and syncopated accompaniment to the relative unadorned chorale sounded on the Great Cornet. [2:11] HW1 Bach, Johann Sebastian: Liebster Jesu, wir sind hier, BWV 730 Very short decorated chorale (especially in the second half). One can imagine a priest saying "Listen to three Liebster Jesu's and and one In Dir ist Freude" for penance, if private confessions were a part of Lutheran custom, that is. [0:55] HW1 Bach, Johann Sebastian: Trio in C minor, BWV 585 In two movements. Adagio and Allegro, after a church sonata by Johann Friedrich Fasch (1688-1758). [5:0] HW1 Bach, Johann Sebastian: Nun komm der Heiden Heiland, BWV 661 The third setting of the German Advent chorale is for full organ, with the cantus firmus in the pedal. [3:5] HW1 Bach, Johann Sebastian: Prelude and Fugue in C minor, BWV 549 In this early masterwork, the bold pedal cadenza at the beginning introduces the main motif of the Prelude, which is imitated polyphonically in the manuals, with some strong repeated chords adding to the excitement. The insouciant fugue subject is played with in the manuals sufficiently for the listener to wonder if it will ever be stated in the pedal. When it finally enters, it's with more of the repeated chords, sometimes staggered between left and right hands. A brilliant flourish on the manuals brings this fugue to a surpringly sudden end. [4:53] HW1