UPDATED 06/08/2008

Now accepting credit cards

 
FEATURED INSTRUMENT CONCERT
Click to see another concert Click to see another concert Click to see another concert Click to stream 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
    Sweelinck, Jan Pieterszoon: Variations on Passamezzo [Attributed]Download
    Six variations on a secular dance tune. [6:27] HW1
    Pachelbel, Johann: Toccata & Fugue in Bb Major, [MT]Download
    Florid prelude, followed by straightforward fugue. [2:10] HW1
    Brahms, Johannes: Es ist ein Ros' entsprungenDownload View Lyrics
    A sublime setting in which the melody hops from voice to voice of the familiar Christmas hymn. [1:54] HW1
    Buxtehude, Dietrich: Praeambulum in A minor, BuxWV 158 [MT]Download
    Section 1: In common meter, with showy keyboard flourishes over a very slowly changing pedal part. Section 2: Fughetta on a short theme (1 measure) which alters form rhythmically in the 16th measure but reverts to the first form near the end. Section 3: The theme of section 2 is transformed into a longer one for this section in 6/4 time. The concluding 5 measures return to common meter and mild keyboard flourishes as the beginning. [5:10] HW1
    Bach, Johann Sebastian: Prelude in C Major, BWV 567Download
    Actually by Johann Tobias Krebs, the composer of the Eight Little Preludes and Fugues. Registration: HW Principal 8' + Fugara 4' + Octava 2' + Quinta 2 1/3' + RP/HW; RP: Kryt 8' + Principal 4'; Pedal: PrincipalBass 16' + OctavBass 8' + RP/PD. [1:17] Midi file available. HW1
    Bach, Johann Sebastian: Fantasia and Fugue in A minor, BWV 561Download
    Many virtuoso passages, full of section changes and echoes in the prelude, the fugue ends with flourishes and arpeggios leading to an Adagio which contains a wake-up fanfare near the end. All very Buxtehudan. Uses the extended sample set. [9:26] HW1
    Bach, Johann Sebastian: Jesu, meine Zuversicht, BWV 728Download View Lyrics
    Autograph in the Klavierbüchlein for Anna Magdalena Bach. This delicate piece may more properly belong to the clavichord repertory, but it sounds very charming on a 17th century organ. Specially adjusted to play on a special mini version of the Zalata Koruna instrument being given away FREE to Hauptwerk users by Jiri Zurek. Note: Extremely close miking was used on this track to reveal the character of the pipes, especially the Fugara 4', which was played an octave below pitch. [1:54] HW1
    Pachelbel, Johann: Gott der Vater wohn' uns beiDownload View Lyrics
    Chorale tune fragments are used as eighth notes in the accompaniment, and the Choral itself appears as half notes in the soprano voice in this cheerful three part setting for manuals alone. [4:21] HW1
    Bach, Johann Sebastian: Auf meinen lieben Gott, BWV 744Download View Lyrics
    Straightforward canon between soprano and pedal. Specially adjusted to play on a special mini version of the Zalata Koruna instrument being given away FREE to Hauptwerk users by Jiri Zurek. [1:17] HW1
    Walther, Johann Gottfried: Concerto del Signor TelemannDownload
    Four movements: Adagio (3/2 Time) HW Forte (Principal 8' + Fuara 4' + Octava 2'), RP Piano (Kryt 8' + Fletna 4'), PD Subbass 16' + Octav Bass 8' - Allegro (Common Time) HW Bourdon Fletna 8' + Fugara 4' + Octava 2' + Quinta 1 1/3') + RP Kryt 8' + Principal 4' coupled to PD Subbass 16' - Adagio RP Kryt 8' + Fletna 4'; HW Bourdon Fletna 8 coupled to PD Subbass 16' - Allegro (6/8 Time) HW Principal 8' + Octava 4' + Octava 2' + Mixtura 1' 5x; RP Quint 3' coupled to PD PrincipalBass 16' + Octav Bass 8' + ChoralBass 4' [8:26] HW1
    Pachelbel, Johann: Magnificat Quinti ToniDownload View Lyrics
    The subject of Fugue faults but one note of a traditional Hebrew chant (Maoz Tzur, or Rock of Ages), which it precedes by at least a couple of centuries. Fugue 2 is in 4 voices, Fugue 3 switches meters to 12/8 and ends with a rocking pattern. Fugue 4 returns to common meter and the subject appears to modulate within. Fugue 5 is brightened by a sassy repeated note and a few extra ornaments. Fugue 6 is a bit fanfare-like. Fugue 7 is very brief. Fugue 8 has a naïve, childlike subject based on the interval of a second. Fugue 9 also uses an almost identical motiv for the subject. Fugue 10, in 12/8 meter, has a gentle rocking rhythm. Fugue 11 wakes the listener from the previous reverie. Fugue 12 brings this set of fugues to a stately conclusion with virtually the entire extended sample set. [15:18] HW1