UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! The Arp Schnitger organ at Eenum in Groningen, The Netherlands (1704) Samples by Hauptwerk.nl Bach, Johann Sebastian: Christ lag in Todesbanden, BWV 695 Fantasia for three voices on one manual. Chorale in the alto, played on Trompet 8', with the addition of Holpyp 8' and Quint 3' for first and last sections. Temperament: Silbermann Erfort-Dom. [3:53] HW1 Bach, Johann Sebastian: Wenn wir in höchsten Nöten, BWV 668 The famous last piece of Bach, dictated in a darkened room to his son-in-law Altnikol. The simplicity of this setting is nevertheless laden with the circumstance of its writing. Kellner Temperament. Registration: Man. II Chorale Holpyp 8' + Holpyp 4' + Woodfluyt 2' + Sesquialter 2 St. + Tremulant; Man. I Holpyp 8' + Holpyp 4'; Pedaal: Holpyp 8' + Praestant 4'. WAV file is available in RAR format: here (21.8 MB). [4:22] Midi file available. HW1 Pachelbel, Johann: Ich ruf zu dir, 2nd Setting Four part fughetta on Chorale phrases followed by a slower sounding of the complete Chorale in the Pedal. Registration: Man. I - Holpyp 8' + Praestant 4' + Octaav 2' + Scherp 4 st.; Repeat: Man. II - Holpyp 8' + Holpyp 4' + Woodfluyt 2' + Quint 1 1/2; Pedaal Trompet 8' + Sesquialter 2 st. + Holpyp 4' + Woodfluyt 2 (Trompet 8' only for repeat) [4:35] (EenumOriginal: Quarter Syntonic Comma Mean-Tone, Pietro Aaron +107% (a=473.5) ) HW1 Bach, Johann Sebastian: Allein Gott in der Höh, BWV 715 One in a series of Chorale Harmonizations where the figured bass usually used for congregational singing was written out, and each phrase ends with a cadenza. As disruptive as it would sound to a modern congregation, this way of accompanying hymns was actually a common practice of the time. Full plenum, omitting only Holpyp 8', Holpyp 4', Quint 1 1/2', and Sesquialter 2 . St. Brad Lehman Temperament. [1:40] HW1 Walther, Johann Gottfried: Variations on a Basso Continuo of Corelli Four variations for single manual, rather highly ornamented. The Basso continuo undergoes many transformations. Temperament: Vallotti. [4:16] (EenumOriginal: Quarter Syntonic Comma Mean-Tone, Pietro Aaron +107% (a=473.5) ) HW1 Walther, Johann Gottfried: Preludio con Fuga (1741) Each in 3 sections: Preludio (repeated); Allegro; Adagio. Fuga. Un poco vivace; Grave; Aria, a 2 Tastature. Kirnberger 3 Temperament. [8:57] HW1 Pachelbel, Johann: Magnificat Quarti Toni Eight fugues not related to any particular Chorale tune. Manual I alternates with Manual II, with occasional pedal. Tuned to Arnout Temperament. [9:39] HW1 Sweelinck, Jan Pieterszoon: Variations on Balleto del granduca Five variations on a secular dance tune. [5:18] (EenumOriginal: Quarter Syntonic Comma Mean-Tone, Pietro Aaron +107% (a=473.5) ) HW1 Lebègue, Nicolas: The Journey to Bethlehem The Trompete 8' sounds wonderfully different in treble and bass registers, and a soft Cornet passage provides an echo effect, as does the single flute at the end. The original French carol is fascinating to ponder. Temperament: MeanTone Jacobi, as used in the Schnitger organ in the St. Jacobi church in Hamburg, Germany. [2:29] HW1 Bach, Johann Sebastian: Kommst du nun, Jesu, vom Himmel herunter, BWV 650 The sixth and final Schübler Chorale, this infectiously bubbly transcription that derives from the second verse (alto solo) of Cantata 137, "Lobe den Herren, den mächtigen König der Ehren." Bach chose a different set of words for this chorale, though. Registration: Man 2: Holpyp 8' + Holpyp 4' + Octaav 2'; Man 1 Trompet 8' (played an octave higher as a 4' reed in the Pedal might be). Temperament: Silbermann Erfurt Dom. [3:6] HW1 Zachau, Friedrich Wilhelm: Wir glauben all an einen Gott Semi-detached playing style on a full plenum with reed. Holpyp 8' + Praestant 4' + Octaav 2' + Scherp 4 Sterck + Trompet 8'. WellTemperament- Young. +3dB output volume. [1:23] HW2>3