UPDATED 06/08/2008

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: Intermezzo, Op. 59, No. 3 Hand registration is used to simulate the dynamic effects called for in this somewhat moody showpiece. [2:55] HW1 Krebs, Johann Ludwig: Trio in F, Br II:33 To distinguish between the trios in F, this is No. 33 in Volume II of the complete organ works of Krebs. Though the editors suggest Vivace, a slower but still bright tempo was preferred. Registration: R.H. Hinterwerk Clarinette 8' LH Hauptwerk Flauto 8' + Gamba 8' + Flauto Traverso 4' + Quinte 2 2/3; PD Violonbass 16' + Oktavbass 8'. [3:7] HW1 Brahms, Johannes: Prelude and Fugue on O Traurigkeit The prelude presents the chorale on a solo reed stop accompanied by a generally ascending triplet pattern, which results in a slight tug when the duple and triple rhythms occur at the same time. The exquisite fugue is in three voices, with the chorale sounded slowly in the pedal. Registration: Prelude - Hinterwerk Clarinet 8'; Hauptwerk Gamba 8'; Pedal Octavbass 8'; Fugue - Hauptwerk Flauto 8' + Octav 4'; Pedal Octavbass 8' coupled to Hinterwerk Clarinet 8' + Gemshorn 8' [5:17] HW1 Schumann, Robert: Canon 5, Op. 56 This is the most pianistic of the Canons, and resembles a Scherzo. The original organ could never be made to sound this way, since the Hauptwerk combinations were used rapidly to achieve the Sforzando effects asked for by the composer. [2:34] HW1 Reger, Max: Sollt' ich meinem Gott nicht singen?, Op. 67, No. 36 Chorale is sounded most often in the pedal, although in Ms. 10-13 it appears in the soprano, and again at the end, where the composer resists his penchant for octave doubling, though not his tendency to ask for a crescendo from triple forte to Organo Pleno. [2:15] HW1 Schumann, Robert: Fugue 1, Op. 60 The first 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." This is marked "Langsam" ("slowly") and at Ms. 34 "Nach und nach schneller and stärker" (more and more rapid and louder) which does give quite an urgency to the next 25 measures. It would have been ludicrous to carry the accelerando to the very end, however. [5:47] HW1 Reger, Max: Fugue, Op. 59, No. 6 Beginning on the Hinterwerk and Pedal and not moving to the Hauptwerk until the halfway point, the tempo and dynamic instructions have been followed very closely. Fasten your seat belts. [2:58] HW1 Schumann, Robert: Fugue 5, Op. 60 The fifth 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." The tempo marking is "Lebhaft" ("lively") and the distinction between staccato and legato serves well to mark the 4-measure fugue subject every time it comes in. B-A-C-H, besides being used as the first four notes of this subject is also stated in longer notes.throughout. A cheerful and delightfully crafted fugue. [2:56] HW1 Reger, Max: Wer nur den lieben Gott lässt walten, Op. 67, No. 46 Subtitled "Zu Liedern freudige Inhalte" ("To a tune with joyous contents"), the tune resides in the soprano voice and the pedal joins the other voices in a dancelike 12/8 meter. [1:1] HW1 Schumann, Robert: Sketch 3, Op. 58 Written for pedal piano, but this is still a rather engaging piece for organ. There are two major sections, each with repeats: one loud in F minor, the second softer in Db Major. As in all four of these sketches, a short reprise of the first part appears at the end. [6:9] HW1 Reger, Max: Vom Himmel hoch, da komm ich her, Op. 67, No. 40 Festive setting with the Chorale in the soprano, sometimes in octaves, and a versatile pedal part. In all fairness, the composer envisioned a very large organ with expression pedals and smooth crescendos, but the sudden increases in sound with smaller unenclosed organs do provide a kind of thrill. [2:4] HW1 Reger, Max: Was Gott tut, das ist wohlgetan, Op. 67, No. 44 Chorale appears in the pedal until slightly over half-way through, whereupon it reverts to the soprano accompanied by flashy footwork. [1:45] HW1 Reger, Max: Kyrie eleison, Op. 59, No. 7 There are many moods displayed, from serious to pleading to agitated to comforting, accompanied by wildly changing tempi and dynamics, the latter done with hand registration. Three manuals were not quite so easy to adapt to two this time. [3:11] HW1 Reger, Max: Wachet auf, ruft uns die Stimme, Op. 67, No. 41 The Chorale alternates between the pedal and the soprano voice, ending with octaves. A triplet rhythm predominates from measure 27 until the end. Though the organ has no expression pedals some of the dynamics are implemented with general combinations. [2:19] HW1 Brahms, Johannes: Fuge für die Orgel A 2-measure chromatic fugue subject with a recognizable 3-note component is presented both rectus (right-side-up) and inversus (up-side-down), (Hauptwerk: Flauto 8' + Gamba 8' + Oktav 4' + Oktav 2') some softer interludes on the Hinterwerk (Grossgedeckt 8' + Salicional 8' + Flut d'Amour 4') over an organ point (Pedal: Subbass 16' + Oktavbass 8', otherwise coupled to the Hinterwerk) provide welcome relief from the sternness. The key changes from 7 flats to 2 sharps about halfway through and then back again, so smoothly one wouldn't think about it if one weren't looking at the score. On the last page, the three notes are used in both eighths and quarters, which I tried to emphasize, and then Brahms makes use of them in staccato with an extra eighth rest, with the rest of the fugue subject in dotted quarters again interrupted by quarter rests. The work was published in 1864, much earlier than his other organ music, possibly it is so dark because of the death of his friend Robert Schumann. [5:1] HW1 Reger, Max: Benedictus, Op. 59, No. 9 Written for 3 manuals, but easily rearranged for two. The introspective meditation on "Swell" (Hauptwerk Gamba 8' + Flauto 8') and "Choir" (Hinterwerk Salicional 8' [+ Flut d'Amour 4']) is interrupted by a fugue on "Great" (Hauptwerk: Principal 8' + Gamba 8' + Oktav 4' + Quinta 2 2/3' [+Oktav 2']) all with appropriate Pedal (soft: Violonbass 16 + Hinterwerk/Pedal; loud: Violonbass 16' + Oktavenbass 8' [+Posaune 16'] coupled to Hinterwerk Grossgedeckt 8' + Viola 8' + Gemshorn 4' + Flageolet 2'). [3:18] HW1