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 1698 Starck organ at Monastery Church of Zlata Koruna, Czech Republic - Samples by Jiri Zurek Bach, Johann Sebastian: Canzona in D minor, BWV 588 The term Canzona, derived from the Italian, can mean: (1) any song; (2) specifically, a type of medieval Italian poem, and hence a musical setting of this; (3) type of short instrumental piece, especially of the 16th to early 18th centuries; Gabrieli wrote many pieces for brass with this title. Bach's contribution for organ may have been written about 1715. The opening theme is played in the pedal (here coupled to the Rückpositiv); the Hauptwerk continues with this theme; a chromatic counter-theme is added and the subtle counterpoint works its way to a half cadence at slightly less than midpoint. The meter changes to from 4/4 to 3/2 and a slightly different version of the theme is introduced on the Great, but with the same chromatic counter-theme (slightly modified for the meter). Near the end there is a deceptive cadence leading to a two measure Adagio with a fuller registration to punctuate the ending. This uses the extended set. [5:39] HW1 Walther, Johann Gottfried: Nun ruhen alle Wälder Cantus in the pedal, fairly heavy ornamentation on what is, until the very end, an imitative duet based on Chorale fragments. For the extended sample set. [1:40] HW1 Froberger, J. J.: Canzona II, [MT] The chromatic subject is first expounded upon in common meter (4/4), then changes to triple meter, and interrupted by a colorful keyboard flourish, progresses to 6/4 time, ending a bit abruptly. Froberger's interesting harmonic juxtapositions appear even more adventurous in mean-tone temperament. [5:8] Midi file available. HW1 Pachelbel, Johann: Vom Himmel Hoch, [MT] German organist and composer Johann Pachelbel, b. August 1653, d. Mar. 3, 1706 His son Carl Theodorus Pachelbel (born November 24, 1690, died Charleston, September 14, 1750) immigrated to the American colonies in about 1730 and became a prominent musician in Newport, New York, and Charleston. This charming pastorale uses the Chorale Bass 4' in the Pedal. [1:45] Midi file available. HW1 Froberger, J. J.: Canzona V Divided in three sections, the first cheerful melody in common time is mimicked in 12/8 meter, the return to common time begins with a three measure slightly florid transition and a new cheerful subject which alternates between subdominant and tonic keys and ends with more floridity. [2:44] Midi file available. HW1 Buxtehude, Dietrich: Auf meinen lieben Gott, BuxWV 179 Chorale and 4 variations in the form of a dance suite: Double, Sarabande, Courante and Gigue. Probably belongs in the harpsichord realm, but with a few added pedal notes on such a charming old organ, it makes a distinctive impression. [4:48] HW1 Bach, Johann Sebastian: Gelobet seist du, Jesu Christ, BWV 723 The Christmas chorale is the top voice on the Hauptwerk, with the remaining 3 voices and Pedal made from chorale fragments. Registration: HW Principal 8' + Fugara 4' + Octava 2' + Quinta 2 1/3' + Quinta 1 1/3'; RP: Kryt 8' + Fletna 4' + Octav 2' coupled to PD Subbass 16' + ChoralBass 4'. [1:59] Midi file available. HW1 Bach, Johann Sebastian: Ich hab mein Sach Gott heimgestellt, BWV 1113 Broad chordal approach, with echos and pedal part added by the Phantom Organist. From the Neumeister Chorale Collection. Uses the extended sample set. [2:17] HW1 Walther, Johann Gottfried: Herr Gott! dich loben wir The familiar tune of the doxology in canon between soprano and the pedal. [1:30] HW1 Bach, Johann Sebastian: Partita on Ach, was soll ich sünder machen, BWV 770 Schweitzer is of the opinion that Bach may have written the first 8 variations, but the last two are very unlike his style, particularly with regard to the treatment of the manual changes. It may be that Bach copied the work of one of his pupils. No matter who wrote it, once the gloomy first verse is acknowledged, it is a sprightly set of variations. Uses the extended sample set. [11:59] HW1 Eberlin, Johann Ernst: Toccata Prima et Fuga Lyrical sequences starting with an arpeggio, following the circle of fifths harmonically, with a smattering of quicker notes and ornaments to emphasize the chord changes. Very long fugue in 4 voices survives pretty well with no registration changes. [6:39] HW1 Sweelinck, Jan Pieterszoon: Variations on Paduana Lachrimae Three variations on a secular dance tune, using the current disposition of the organ. [4:19] HW1