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: Ach bleib bei uns, Herr Jesu Christ, BWV 649 This transcription is from the 5th movement of Cantata 6 for the second day of Easter: "Bleib bei uns, denn es will Abend werden." [2:30] Midi file available. HW1 Bach, Johann Sebastian: Durch Adams Fall ist ganz verderbt, BWV 705 Contrapuntal treatment in 4 voices. Written in the Pachelbel style, this chorale-prelude perhaps belongs to a predecessor of Johann Sebastian Bach rather than to the Master himself. [2:16] HW1 Krebs, Johann Ludwig: Fantasy for Oboe & Organ in F minor A consummately beautiful trio using just flute stops on the organ and a very expressive sampled oboe. [3:51] HW1 Bach, Johann Sebastian: Jesu, meines Lebens Leben, BWV 1107 A playful romp totally at odds with the doleful text. The meter switches to 12/8 in the middle. The chorale melody bounces around from voice to voice, finally landing in the pedal. From the Neumeister Chorale Collection. [1:25] HW1 Bach, Johann Sebastian: Aus tiefer Noth schrei' ich zu dir, BWV 1099 In four sections, the first hymn-like, the second bubbly, the third a chirpy bird call, and the fourth an adagio with descending seconds that may signify release from the troubles described in the text. From the Neumeister Chorale Collection. [1:41] HW1 Bach, Johann Sebastian: Wenn dich Unglück tut greifen an, BWV 1104 The chorale is rather obscure, as is its text. Comfort and reassurance seems to be the quiet goal of this little prelude. The Phantom Organist has removed the Chorale from the top voice of the manual to a 4' Pedal register. From the Neumeister Chorale Collection. [1:13] HW1 Bach, Johann Sebastian: Wir Christenleut, BWV 1090 Flowing scales accompany the first part of this setting, then a softer and lilting texture, followed by a strong rhythm pattern neatly finished by a slightly plaintive cadence. The Phantom Organist has ad libbed the chorale melody on the pedal [1:51] HW1 Bach, Johann Sebastian: O Herre Gott, dein göttlich Wort, BWV 1110 Relentless patterns in a triple meter with the chorale melody in both the soprano and in the pedal on the 4' Regal stop. From the Neumeister Chorale Collection. [1:57] HW1 Bach, Johann Sebastian: Nun laßt uns den Leib begraben, BWV 1111 J. S. Bach: Nun laßt uns den Leib begraben, BWV 1111 (G Major) Standard fughetta ending with a waltzing dance of joy at leaving the body behind, a typical Pietistic concept. Standard fughetta ending with a waltzing dance of joy at leaving the body behind, a typical Pietistic concept. From the Neumeister Chorale Collection. [1:50] HW1 Bach, Johann Sebastian: Ach Gott und Herr, BWV 714 An intriguing double canon at the octave, with that haunting simplicity Bach can impart to four related lines of music. [1:12] HW1 Bach, Johann Sebastian: Christum wir sollen loben schon, BWV 696 Brief fughetta in four voices. No episodes, it's just about over as soon as it begins. [0:53] HW1 Bach, Johann Sebastian: Der Tag der ist so freudenreich, BWV 719 Fughetta on the Christmas chorale in 4 voices, the bottom having been placed on the pedal for more interesting listening. [1:44] HW1 Bach, Johann Sebastian: Ehre sei dir Christe, der du leidest Not, BWV 1097 The simple chorale is given a straightforward imitative setting with limited modulations and a Bachian chromatic ending. Ad lib pedal added. From the Neumeister Chorale Collection. [1:45] HW1 Bach, Johann Sebastian: Was Gott tut, das ist wohlgetan, BWV 1116 Cheerful setting of great simplicity, befitting the humble text. From the Neumeister Chorale Collection. [1:26] HW1 Bach, Johann Sebastian: Alle Menschen müssen sterben, BWV 1117 Sort of a mini-concerto on the art of dying. From the Neumeister Chorale Collection. [1:49] HW1 Bach, Johann Sebastian: Machs mit mir, Gott, nach deiner Güt, BWV 957 Cheerful, even droll acceptance of the inevitable. From the Neumeister Chorale Collection. [2:0] HW1 Bach, Johann Sebastian: Symphonia to Cantata 21, BWV 021a Transcribed for organ by the Phantom Organist. The words of the opening chorus expresses the sadness and hope of this piece: "I had so much distress and woe within my bosom; but still thy consoling restoreth all my spirit." [2:2] Midi file available. HW1 Bach, Johann Sebastian: Trio in G Major, BWV 1027a An arrangement of Allegro Moderato from a sonata for viola da gamba and continuo with the same BWV number, which itself was arranged from a Sonata for two flutes and continuo and marked "Presto." Bach himself may have transcribed it for organ. [3:44] HW1 Bach, Johann Sebastian: Wir glauben all' an einen Gott, BWV 680 An exuberant setting of the German Creed, with the engaging syncopation in the manuals offset by a sturdy pedal motiv. [2:45] HW1 Brahms, Johannes: Es ist ein Ros' entsprungen A sublime setting in which the melody hops from voice to voice of the familiar Christmas hymn. [1:51] HW1 Bach, Johann Sebastian: Kleines harmonisches Labyrinth, BWV 591 Some of the most anfractuous harmonies ever to surround C Major. It is in three sections, Introitus, Centrum, and Exitus, tempo Andante, and ending with an organ point in the pedal. [3:37] HW1 Bach, Johann Sebastian: Allein zu dir, Herr Jesu Christ, BWV 1100 Although the chorale is written in the top voice, here it has been reassigned to the 4' Choralbass in the Pedal. From the Neumeister Chorale Collection. [2:0] HW1 Brahms, Johannes: Herzlich tut mich erfreuen Pianistic arpeggiation throughout, with the chorale sounded in the soprano voice. [1:52] HW1 Bach, Johann Sebastian: Christe, der du bist der helle Tag, BWV 1120 A bit of antiphonal interplay between Hauptwerk and Brustwerk plena before the Pedal comes romping in with the chorale. From the Neumeister Chorale Collection. [1:9] HW1 Bach, Johann Sebastian: Christe, der du bist der helle Tag, BWV 1096 Four voice fughetta on the chorale, with ad lib pedal added. From the Neumeister Chorale Collection. The Schmieder II 1990 catalog update says "BWV 1096 Christe, du bist Tag und Licht, oder: Wir danken dir, Herr Jesu Christ (S. 36 f.--Anhang III Johann Pachelbel)." I have examined a 29-measure fragment by Pachelbel which does seem to be nearly exact except for accidentals, but that doesn't explain the extra 27 measures. [2:14] HW1 Grigny, Nicolas De: Premier Kyrie en taille, à 5 Registration: Grand Plein Jeu in Manual, Reeds 8 and 4 in Pedale. The organ at Reims Cathedral played by Grigny shows only 4 stops in the pedal , 8+4 Flutes and 8+4 Reeds. [1:32] Midi file available. HW1 Bach, Johann Sebastian: Komm, Gott, Schöpfer, heiliger Geist, BWV 667 A setting of Martin Luther's version of the Veni Creator Spiritus: a hymn to the creative aspect of the Holy Spirit. The first verse is identical to the setting (BWV 631) found in Das Orgelbüchlein, with an offbeat pedal obbligato. The second verse is a soaring fantasy in the manuals over a solid sounding of the Chorale in the pedal. [2:13] HW1 Grigny, Nicolas De: Fugue à 5 qui renferme le chant, du Kyrie The French Baroque masters were meticulous about noting registration in their scores, unlike the more generic Germans, who only occasionally mentioned a specific organ stop. This fugue has 4 highly ornamented voices, 2 on the Cromorne of the Positif, 2 on the Cornet of the Grand Orgue, and the fifth, unornamented voice is in the pedal of 8 and 4 foundation stops. [2:31] Midi file available. HW1 Bach, Johann Sebastian: Nun komm der Heiden Heiland, BWV 660 A perky, maybe even quirky setting of the Advent Hymn, "Come, Savior of the Gentiles." [2:37] HW1 Grigny, Nicolas De: Cromorne en taille à 2 parties Also known as the 2nd Kyrie, this piece shows off the Cromorne stop in the tenor range..Very sparing use of notes inégales when appropriate and the usual feast of elaborate ornamentation. [1:51] Midi file available. HW1