UPDATED 10/13/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! A. Cavaillé-Coll Organ, originally Paris, France, moved to Mainz, Germany (1877) - Samples by Prof. Helmut Maier Bach, Johann Sebastian: Trio Sonata No. 1, BWV 525 The first of six pieces written by Johann for his eldest son Wilhelm Friedeman Bach, to learn keyboard technique. He may have practiced them on a two manual and pedal clavichord. But the sounds are delightful, and organists still study and perform them. The movements are [Allegro moderato] - Adagio - Allegro. Uses the extended set. [14:46] HW1 Grigny, Nicolas De: Veni Creator, en taille, à 5 The manual part is played using a subtle form of notes inégales that the Phantom Organist studied as a youth, but modern scholarship may have a different interpretation. Registration: Récit.: Plein Jeux 4 rang coupled to G.O. Bourdon 16' + Montre 8' + Prestant 4' + Nasard 3' + Octavin 2; Pédale: Basse 8' + Trompette 8'. Uses the extended set. [2:14] Midi file available. HW1 Gigout, Eugène: Gigout: Antienne Dans Le mode Ecclesiastique No. 9 from Ten Pieces for Organ, a rough English translation might be "Refrain in Church Style." Registration: Fonds de 8 p. [2:15] HW1 Rheinberger, Josef: Cantilena From Sonata in D minor, Op. 148, No. 11. Beautiful German romantic melody, accompanied by ascending and descending octaves in the pedal. Uses the extended set. [4:38] HW1 Bach, Johann Sebastian: Prelude and Fugue in C Major, BWV 531 The Prelude opens with a fanfare-like pedal cadenza which is imitated in the manuals and punctuated with strong 6- and 7-note chords finally ending with some bravura recitative. The Fugue procedures regularly enough until the pedal entrance, where there are just some octave leaps instead of the subject. After soprano and alto entrances, the pedal finally sounds the fugue subject, which is tossed around a few times playfully but never really enters on its own again. The fugue ends with the same kind of rapid recitativo figuration as the Prelude. Uses the extended set. [6:53] HW1 Buxtehude, Dietrich: Praeludium in E Major, BuxWV 141 Sudden flashes of improvisatory brilliance. One of the fughetta sections is modeled on a tune very like St. Anne. [4:50] HW1 Hanff, Johann Nicolaus: Wär Gott nicht mit uns diese Zeit Occasionally extroverted solo on the Trompette of the Récit accompanied by two supportive voices on the G.O. (Flute Harmonique 8' + Prestant 4') and one on the Pédale (Soubasse 16' + Basse 8' + Violoncello 8'). [1:43] HW1 Franck, César: Cantabile Chromatic, romantic and dramatic, with moments of great relief. [4:40] HW1 Buxtehude, Dietrich: Praeludium in F# minor, BuxWV 146 A stunning, spontaneous, improvisatory tour-de-force in a very unusual key for the Baroque (in Mean Tone temperament this is the furthest from the ideal key of C, an interval of a diminished fifth then referred to as Diabolus in Musica [the Devil in music]). The first section opens with flourishes on the Hauptwerk over an organ point in the Pedal; this gives way to a homophonic, hymnlike section and a concluding flourish. The second section is marked Grave and is a sombre fughetta with a dotted note motive reminiscent of that used in the great G minor Prelude and Fugue, BuxWV 149. The third section, played on the Récit, involves a playful and syncopated motive. Though not marked as a section, flourishes recur, so the Hauptwerk is once again used. [7:8] HW1 Gigout, Eugène: Toccata No. 4 from 10 Pieces for Organ, this is a French toccata with some echoes of Widor and a Hollywood ending. [3:55] HW1 Buxtehude, Dietrich: Magnificat Primi Toni, BuxWV 203 Grand, charming, forthright, festive, grave, frivolous, tender, industrious, and fervent, in that order. [7:13] HW1