UPDATED 04/10/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! F. X. Engelfried Organ, Gönningen/Baden-Württemberg/Germany (1844) - Samples by Prof. Helmut Maier Reger, Max: Nun komm, der Heiden Heiland, Op. 67, No. 29 Marked "Ziemlich langsam" (somewhat slow), some disjunct tonalities are created with chromatic passing tones. Played on the Hinterwerk Viola 8' + Salicional 8' + Flut d'Amour 4', with Pedal Subbass 16' + Hinterwerk/Pedal coupler. [1:8] HW1 Schumann, Robert: Canon 6, Op. 56 A lush conclusion to this exquisite set of canons. The Hauptwerk is used for the outer parts, but the small fugal exposition in 4 voices is set off by using the softer Hinterwerk. [3:21] HW1 Reger, Max: O Gott, du frommer Gott, Op. 67, No. 30 Hinterwerk Grossgedeckt 8'+ Salicional 8' + Flut d'Amour 4'; Pedal Subbass 16' coupled to Hauptwerk Flauto 8' [2:5] HW1 Reger, Max: O Welt, ich muß dich lassen, Op. 67, No. 33 Very much in the format of Johannes Brahms' second prelude on this chorale, each phrase is played on the Hauptwerk (Principal 8' + Flauto 8' with Pedal Violonbass 16' + Octavbass 8') then the last 2-4 notes are echoed on the Hinterwerk (Viola 8' + Salicional 8') for which the Pedal drops out, except at the end. [1:52] HW1 Schumann, Robert: Fugue 2, Op. 60 The second of six fugues written on the name of Bach (B-A-C-H, in modern notation Bb-A-C-B) which Bach himself used "The Art of the Fugue." An homage to Bach's famous Fugue in D minor (BWV 565) may have been intended in the second part of the fugue subject here. The tempo marking is "Lebhaft" ("Lively"). [6:4] HW1 Reger, Max: Pastorale, Op. 59, No. 2 A trio with slightly off-kilter harmonies. Registration: RH Hinterwerk Clarinette 8'; LH Hauptwerk Flauto 8' + Flauto Traverso 4'; Pedal Violonbass 16' + Octavenbass 8' (Violonbass changed to Bourdon 16' for last note). [2:19] HW1 Pachelbel, Johann: Toccata in C Major (IV) Marvelous improvisation on manual over organ points in pedal. [1:45] HW1 Brahms, Johannes: Prelude and Fugue in A minor One of a pair of Preludes and Fugues, both of which make extensive use of triplets, both alone and together with duplets. The bravura passages at the end of the fugue are almost orchestral. [4:36] HW1 Reger, Max: O Lamm Gottes, unschuldig, Op. 67, No. 32 Chorale played without embellishment on the Hauptwerk (Principal 8' + Flauto Traverso 4' + Quinte 2 2/3'), slippery syncopation on the Hinterwerk (Viola 8'+ Salicional 8' + Gemshorn 4' + Flut d'Amour 4), an occasional dotted rhythm in the Pedal (Subbass 16' + Octavbass 8'). [1:27] HW1 Krebs, Johann Ludwig: Fuga in B (über B-A-C-H), Br II:19 The famous 4-notes which spell Bach's surname in German notation (B is Bb, H is B natural) are surrounded with a lot of urgency by Bach's own use of it near the end of the Art of the Fugue, and by the dramatic 6 fugues by Robert Schumann, written for pedal piano or organ. Krebs deals with the inherent chromaticism in his own unusual fashion, with the subject appearing only once in the pedal. [5:4] HW1 Brahms, Johannes: Prelude and Fugue in G minor The second of a pair of Preludes and Fugues. Wonderfully improvisatory throughout, with flashes of virtuosity in both manuals and pedals. [5:34] HW1 Schumann, Robert: Sketch 1, Op. 58 A rhythmic texture contrasts with a smooth romantic one, with dynamic variations along the way. [3:22] HW1 Buxtehude, Dietrich: Gelobet seist du, Jesu Christ, BuxWV 189 Forthrightly ornamented chorale sounded on the Hinterwerk Clarinette 8' with a spritely little 4-note motive permeating the Hauptwerk (Flauto 8' + Flauto Traverso 4') and PD (Violonbass 16' + Oktavbass 8'). [1:35] HW1 Reger, Max: Melodia, Op. 59, No. 11 The wandering melody is on the Hauptwerk (Principal 8' + Gamba 8' + Flauto 8', middle section Principal alone), with two wandering voices on the Hinterwerk (Viola 8' + Salicional 8' + Flut d'Amour 4', middle section and ending minus the Viola) and support from the Pedal (Violonbass 16' + Hinterwerk/Pedal coupler) , which occasionally joins the fray. [2:25] HW1 Reger, Max: Praeludium, Op. 59, No. 1 Grand full-handed chromaticism interspersed with bits of polyphony, arpeggios and bravura pedalwork set the tone for this magnum opus. The entire collection can be accessed and streamed here. [2:45] HW1 Reger, Max: Gloria in excelsis, Op. 59, No. 8 The Plainchant intonation associated with the Gloria is heavily emphasized, even in the short fugue in the middle. Extensive use of triplets makes for some flashy footwork. [2:45] HW1 Reger, Max: Capriccio, Op. 59, No. 10 As per the composer's instructions, tempo: Prestissimo assai; ritards: nonexistent; mood: capricious. You may also enjoy the less frenetic version. [2:15] HW1