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    Johann Adam Ehrlich organ at Evangelische Stadtkirche / Bad Wimpfen, Germany (1748)
    Samples by Gernot Wurst
    Buxtehude, Dietrich: Nun lob mein Seel den Herren, BuxWV 213Download View Lyrics
    Based on a chorale maddeningly close to the modern Doxology, these three verses might make the prelude, offertory and postlude of a modern service. The first is in two parts, the second is in three parts played on one manual, the third has two voices, each on its own manual, and the chorale slowly sounded on the pedal. [7:22] (a=468 Hz) HW1
    Pachelbel, Johann: Meine Seele erhebt den HerrenDownload View Lyrics
    Set in Tonus Peregrinus, it has two very short movements: 1. HW Großgedeckt 8' + Octav 4' + Superoctav 2'; 2. HW Principal 8' + Octav 4' + Quint 2 2/3' + Superoctav 2'; Chorale on PD Posaunen Baß 16' + Octavbaß 8' [2:7] (a=468 Hz) HW1
    Buxtehude, Dietrich: Praeludium (and Fugue) in C Major, BuxWV 136Download
    In the middle of the 13th measure of this 96-measure piece is the indication "Fuga" with a jaunty subject and the jazzy chromatic descending syncopation that accompanies it, but, typical of the sectional, improvisational nature of Buxtehude's organ works, measure 55 starts an entirely different motiv with the indication "allegro" and at the 66th measure there is an abrupt shift to 12/8 meter, which persists to the end. Impulse reverberation added. [5:10] (a=468 Hz) HW1
    Krebs, Johann Ludwig: Fantasia in G, Br II:09Download
    Very simple echo style fantasia. Manual separations were not indicated in score but they seemed implicit. Registration: Hauptwerk Principal 8' + Viola di Gamba 8' + Octav 4' + Quint 2 2/3 + Superoctav 2'; Positiv Grossgedeckt 8' + Principal 4' + Octav 2' + Quinta 1 1/3'; Pedal Subbass 16' + Octavbass 8' + Octav 4'. [1:25] (a=468 Hz) HW1
    Bach, Johann Sebastian: Trio in D minor, BWV 583Download
    A charmingly ornamented trio that stands alone in the Bach Werke Verzeichnis. It resembles the middle movements of the 6 Trio Sonatas. Registration: LH on Pos: GroßGedeckt 8' + Principal 4' + Spitzfloete 4' + Quint 1 1/3'; RH on HW: GroßGedeckt 8' + Viola di Gamba 8' + Octav 4 + Cornet 3f.; Pedal: Subbaß 16' + OctavBaß 8' + Pordonfleute 4'. Two pedal notes that fell out of compass were lowered one octave. [4:50] (a=468 Hz) Midi file available. HW1
    Buxtehude, Dietrich: Praeludium in Bb Major (Fragment), BuxWV 154Download
    Cheerful little piece which Buxtehude would have a lot of fun finishing had he ever gotten around to it. Score provided by Boris Mudrinic. [1:13] (a=468 Hz) HW1
    Krebs, Johann Ludwig: Trio in Dm, Br II:27Download
    Krebs uses all his characteristic devices - ornaments, augmented 2nds, chromaticism, a broad range of note values from 16ths to 64ths, yet comes up with a different trio every time. Registration: Right Hand: HW Principal 8' + Octav 4'; Left Hand: POS Grossgedeckt 8' + Octav 4' + Spitzfleute 4' + Octav 2' + Quint 1 1/3'; PD: Subbas 16' + Octavbass 8' + Octav 4'. For Impulse reverberation version click here. [5:11] (a=468 Hz) HW1
    Bach, Johann Sebastian: Dies sind die heil'gen zehn Gebot' (Fughetta), BWV 679Download View Lyrics
    Part of the small German Organ Mass, this delightful Fughetta makes the Ten Commandments actually sound appealing. Similar in feeling to the Gigue Fugue, but much less demanding technically, this is an attractive piece for one manual that could teach a student to deal with repeated notes and phrasing. Registration: HW: Principal 8' + Octav 4' + Superoctav 2'. [2:22] (a=468 Hz) Midi file available. HW1
    Bach, Johann Sebastian: Christe, der du bist der helle Tag, BWV 1120Download View Lyrics
    A bit of antiphonal interplay between Hauptwerk and Positiv before the Pedal comes romping in with the chorale. From the Neumeister Chorale Collection. Registration: HW Principal 8' + Viola di Gamba 8' + Octav 4' + Superoctav 2'; RP: Großgedeckt 8' + Spitzfloete 4' + Floete gedeckt 4' + Quint 1 1/3'; PD (doubles LH on HW) Posaunen Baß 16' + Octavbaß 8'. [1:12] (a=468 Hz) HW1
    Krebs, Johann Ludwig: Fuga in C minor, Br II:10Download
    Attractive and recognizable fugue subject divided into 4 perhaps arbitrary sections, depending on whether the pedal was at play or not, plus an extra loud coda. [5:45] (a=468 Hz) HW1
    Bach, Johann Sebastian: Wie schön leuchtet der Morgenstern, BWV 739Download View Lyrics
    For two manuals and pedal, slighty tainted authenticity even though it is in Bach's handwriting (he often copied others' works due, no doubt to the lack of photocopying machines back then). The instructions for manual changes are in the score, which is not the usual case. Registration for original sampled organ: Hauptwerk Principal 8' + Octav 4' + Superoctav 2'; Positiv Großgedeckt 8' + Spitzfloete 4' + Octav 2' + Quint 1 1/3; Pedal Posaunen Baß 16' [4:8] (a=468 Hz) HW1
    Bach, Johann Sebastian: Herr Jesu Christ, du höchstes Gut, BWV 1114Download View Lyrics
    Elegantly decorated Chorale with appropriate accompaniment. From the Neumeister Chorale Collection. WAV file is available in RAR format: here (16.8 MB). [2:43] (a=468 Hz) HW1
    Brahms, Johannes: Herzlich tut mich verlangen (II)Download View Lyrics
    A restless accompaniment in the manuals adds urgency to the passion chorale as sounded in the pedal. Registration: the Positiv Weit Principal 8' (*) with Positiv Tremulant (*), has been coupled to the Hauptwerk Grossgedeckt 8' and the Chorale melody is played on the Octav 4' + Pordonfleute 4' an octave lower in the Pedal; the middle section goes to the Positiv where the Salicet 4' (*) is added and the Tremulant is withdrawn. The Positiv is now enclosed (*). (*) New features of the extended version. [2:21] (a=468 Hz) HW1
    Pachelbel, Johann: Magnificat Sexti ToniDownload View Lyrics
    Although there are ten fugues in all, the first is divided into three distinct sections, the middle one being what one would call an episode in later fugues (that is, it doesn't contain the fugue subject). Fugues 2 and 3 are in 12/8 meter and also make much use is made of repeated notes, which gives them a gentle bounce. Fugue 4 returns to common time, but not only continues the repeated notes but adds a snappy ornament to the subject. The subject for Fugue 5 has a sing-songy quality which seems best dealt with by playing very fast. Fugues 6 and 7 continue with the repeated note subject. Fugues 8 and 9 introduce a series of ascending fourths into the subject, and Fugue 10 has a reveille-like motiv which calls definite attention to every entrance. A bit of improvised pedal with the 16' Pedal reed enhances this version. [14:31] (a=468 Hz) HW1