UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! Virtual organ set from 1766 Schmidt organ in Peruc, Czech Republic - Samples by Jiri Zurek Bach, Johann Sebastian: Prelude and Fugue in A Major, BWV 536 The gentlest of preludes and fugues, Schweitzer says the prelude should "pass before the hearer like a vision." The fugue is almost all exposition, with the syncopated subject appearing in one or two voices at a time, playfully incomplete at times. This piece is fairly uncharacteristic among Bach organ works, in an unusual key for him as well. The Phantom Organist made several substitutions for the missing high "E" on the pedal division. [6:33] HW1 Bach, Johann Sebastian: Prelude & Fugue in E minor, BWV 533 A brisk Prelude followed by a breezy Fugue. Registration: Man. II: Copula Major 8 + Fugara 4 + Principal 2 + Mixtura 2-3x; Man. I: Principal 8 + Principal 4 + Oktava 2 + Mixtura 3; Pedal: Subbas 16 + OctavBas 8 + ChoralBas 4 + II/P Coupler. This is the first track to use the new virtual organ set with brighter mixtures. [4:11] Midi file available. HW1 Bach, Johann Sebastian: Concerto in G Major after Ernst, BWV 592 Arrangement of concerto by Prince Johann Ernst von Saxe-Weimar. In three movements: [Allegro] - Grave - Presto. Bouncy first movement, pensive slow movement reminiscent of Handel, and arpeggio-based third movement interspersed with splashy echoed chords. [7:24] HW1 Bach, Johann Sebastian: Symphonia to Cantata No. 119, BWV 119a Marked "Grave," this is a portentous orchestral introduction in French Overture style, transcribed for organ from the piano score by James Pressler. The lyrics are from the opening chorus of Cantata 119, written 30 August 1723, Leipzig. Registration: Man. 1 Principal 8 + Principal 4 + Octava 2; Man. 2 (coupled to Pedal) Copula Major 8 + Fugara 4; Pedal: Subbass 16 [3:6] Midi file available. HW1 Grigny, Nicolas De: Récit de Tierce en taille The fourth part of the Gloria from Organ Mass IV, this exquisitely expressive solo in the tenor voice is a jewel of the French Baroque by a composer who lived only 31 years. [3:45] Midi file available. HW1 Buxtehude, Dietrich: Ciacona in E minor, BuxWV 160 This wonderful set of variations shows Buxtehude in a pensive mood gradually moving to a triumphant one. [6:4] HW1 Bach, Johann Sebastian: Gelobet seist du, Jesu Christ, BWV 697 Four-voice fughetta on the Christmas hymn for one manual and pedal, played on gentle sounds: Manual II: Prinzipal 2'; Manual I: Prinzipal 8' + Prinzipal 4' + II/I coupler; Pedal: Subbass 16' + Oktav Bass 8' + Choral Bass 4 + I/Pedal. [0:57] HW1 Pachelbel, Johann: Mag ich Unglück nicht widerstahn Cheerful one manual setting with the Chorale played in the soprano voice. Registration: Manual I Kryt 8' + Oktava 2 coupled to Manual II Fugara 4' + Oktava 1'. [2:21] HW1 Froberger, J. J.: Canzona I This canzona has two major sections, the first one played on Man. 2: Principal 8' + Fletna 4' + Oktava 2' + Kvinta 1 1/3'. There is a noticeable cadence about halfway through and it ends with a major flourish. The short section that follows is played on Man. 2: Copula Major 8' + Copula minor 4' + Principal 2' + Oktava 1'. Though fairly conventional in appearance, the harmonic ambiiguities are intriguing. The Phantom Organist has corrected what appear two be two engraving errors that result in uncharacteristic dissonance. [5:40] HW1 Bach, Johann Sebastian: Toccata and Fugue in E Major, BWV 566 Divided into four sections, this early piece resembles, in form at least, the Preludes and Fugues of Buxtehude. The first section alternates manual or pedal cadenzas with very dense suspended chords. Then follows a charming fughetta with a great deal of repetition following the circle of fifths. A brief flourish for manuals in the third section ends with an even briefer pedal cadenza punctuated with 9-voice chords. The fourth section, in 3/4 time, is polyphonic with a catchy rhythmic subject. [10:30] HW1