UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! Buzard, Opus 3 (1986) at University of Illinois - Samples by Brett Milan 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. [4:33] HW1 Bach, Johann Sebastian: Trio in D minor, BWV 583 A charmingly ornamented trio that stands alone in the Bach Werke Verzeichnis. It resembles the middle movements of the 6 Trio Sonatas. [4:45] Midi file available. HW1 Bach, Johann Sebastian: Short Prelude and Fugue in F Major, BWV 556 Another contrast in meters is presented between Prelude and Fugue. The pair is unmitigatingly cheerful, emphasizing triplets in the Prelude and with many false entrances of the subject in the Fugue. The Phantom Organist could not resist a bit of a Hollywood ending. [2:54] HW1 Sweelinck, Jan Pieterszoon: Echo Fantasia 6 (Ionian) [attributed] The usual manuals are reversed, with the loud parts soloed out on a cornet combination and the soft part on bright flues. [3:45] Midi file available. HW1 Bach, Johann Sebastian: An Wasserflüssen Babylon, BWV 653b A double pedal version of the more famous Leipzig setting, with less ornamentation throughout, the Chorale being played in the soprano rather than the tenor voice. These changes alone make it quite a different piece, but when you compare how Bach treats passing tones and how he allocates the two pedal parts, you realize what a marvelous orchestrator and improvisor he was. [4:17] Midi file available. HW1 Bach, Johann Sebastian: Short Prelude and Fugue in D minor, BWV 554 The prelude introduces a bit of the gloom usually associated with D minor, and is in ABA form. It contrasts with a rather cheerful fugue. [3:31] HW1 Brahms, Johannes: O Welt, ich muß dich lassen (II) A very straightforward example of terrace dynamics, registered for three manuals: loud, soft, softer. Quick switching of stops allows it to be performed on a two-manual with the same effect. [1:42] HW1 Bach, Johann Sebastian: Vater Unser im Himmelreich, BWV 737 Schweitzer calls this piece "A motet without words, in whicb the soul sends to Heaven the prayer of prayers." [1:33] HW1 Bach, Johann Sebastian: Short Prelude and Fugue in G minor, BWV 558 The Prelude consists of broad chords and slow arpeggios, ending softly. The brisk Fugue is in 4 voices, with a repeated note motif in the countersubject. [3:19] HW1 Bach, Johann Sebastian: Jesu, meine Freude, BWV 713 Fantasia for harpsichord, but with the embedded chorale sounded on the Cromhorne stop during the long first section. The time signature abruptly changes to 3/8 for a gentle finish. [3:25] HW1 Bach, Johann Sebastian: Short Prelude and Fugue in A minor, BWV 559 The Prelude ends with a little fanfare figure much like Soler sometimes includes in his concertos, for which the Krummhorn is surprisingly effective, along with the Fagott in the pedal. The Fugue, in 6/8 meter, has a rocking motion that is comforting, and ends with a pedal point. [2:43] HW1 Bach, Johann Sebastian: Christ unser Herr zum Jordan kam, BWV 685 Intimate setting in three parts from the small German Organ Mass. Registration : 8 Quintadena. [1:30] Midi file available. HW1 Froberger, J. J.: Canzona IV There are 4 basic sections, the first expounds the main melody, the second adds a countermelody, both of which are sometimes inverted, the third, in 3/4 meter embroiders the main theme a bit, but it still has the upward chromatic motion, the fourth, in 12/8 meter, plays even more with the melody, puttng the chromatic intervals a little off kilter, and there is a florid coda in common meter at the end. [4:57] Midi file available. HW1 Bach, Johann Sebastian: Christ lag in Todesbanden, BWV 695 Fantasia for three voices, Chorale in the alto, all delicately played on gentle flute sounds. [3:45] HW1 Buxtehude, Dietrich: Nun bitten wir den Heiligen Geist, BuxWV 209 Lightly ornamented chorale tune played on a cornet combination and flutes. The calm prayer-like mode is occassionally interrupted by fiery outbursts. [1:51] HW1 Grigny, Nicolas De: Fugue, à 5 The second movement of Veni Creator, with the top two voices on a Cornet (actually just the Holz Gedeckt 8' and Sesquialtera II), the next two on a Krummhorn, the bottom voice in the Pedal (Spitzprincipal 8'). Though there are supposed to be two cornets, this version was reduced for a smaller organ. Impulse reverberation added. [2:5] HW1 Bach, Johann Sebastian: Allein Gott in der Höh' sei Ehr', BWV 716 Simple 3-voice treatment, with the chorale in augmentation at the end underscored by the 16' pedal reed. [1:53] HW1