UPDATED 06/08/2008

FEATURED INSTRUMENT CONCERT   If you enjoy this concert, please donate by clicking on the button to the left! Orgue de salon (1988) Samples by Eric Bricet and Jean Yves Garet Bach, Johann Sebastian: Fugue in C minor, BWV 575 This is an extremely playful early fugue of Bach. The subject is hesitant to proceed, but when all four measures are through, you pretty well know it is a fugue subject. The adagio at the end just continues the surprises. Impulse reverberation added. [4:4] HW1 Reger, Max: Canon, Op. 63, No. 11 Casting aside the pumping up and down of swell pedals and murky 16' sounds, what's revealed is chromatic adventurism, odd syncopations and a very strict canon at the seventh. The overall effect is eerily modern, even ear-cleansing. The screen capture shows a basic principal of registering a trio with pulldown couplers--always couple the pedal to the manual with the highest range. Impulse reverberation added. Those curious about what Reger actually had in mind should look here. [2:9] HW1 Couperin, François: Rondeau. Le Réveille - Matin Perhaps an early form of tone poem, Couperin describes these harpsichord pieces as "portraits: not only of people, but of moods, emotions, objects and incidents." The title of this rondeau seems to be suggest a wake-up call in the French military. Trills slowed down from harpsichord version, 95% output speed. Slight Impulse reverberation added. [3:47] HW1 Pachelbel, Johann: Wenn mein Stündlein vorhanden ist Standard Pachelbel treatment: fughetta on first phrase of the Chorale, followed by complete statement in the soprano using longer notes, with pedal note added at the end. Artificially detached playing style. Registration: all flute stops, coupled everuwhere. Impulse reverberation added. [3:59] HW1 Pachelbel, Johann: Allein zu dir, Herr Jesu Christ Mostly homophonic setting in two sections, each using two manuals. Impulse reverberation added.. [4:5] HW1 Vaňhal, Jan: Fugue No. 11 Gentle subject with recognizable leaps of a diminished 5th and a fourth, some very sweet Mozartian passages. After a dramatic pause, there is a quasi stretto followed by the familiar two organ points flanking a bass entrance of the subject. Registration: Pos Flûte à Cheminée 8' coupled to G.O. Bourdon 8' + Flûte 4' - both coupled to PD. A resultant is attempted on the last measure of PD, but fails. Impulse reverberation added. [3:5] HW1 Krebs, Johann Ludwig: Allein Gott in der Höh sei Ehr, Br IV:01 Prelude, Fughetta, Choral and Choral alio modo (figured bass realized by James Pressler). Impulse reverberation added. [4:30] HW1 Zachau, Friedrich Wilhelm: Vom Himmel Hoch (1) Simple choral prelude arranged as a trio. Original score courtesy Jonathan Orwig. Rearranged score available here. Registration: LH & RH: Pos Flûte à Cheminée 8' + Flûte 2'; G.O. Flûte 4' + Octav 2' coupled to PD. Impulse reverberation added. [0:59] HW1 Desprez, Josquin: Cueurs desolés Four voice motet transcribed for two manuals and pedal. Many thanks to Alain Naigeon for providing the MIDI file and PDF score. The rearranged score used for this performance is available here. [2:13] HW1 Froberger, J. J.: Capriccio VI The first of four sections uses an ascending chromatic scale which is answered by a descending one. The second is based a rhythmic variant of the descending scale throughout. The third, in triple meter, ascends once more and the fourth returns to common meter, using faster notes in alternating ascending and descending patterns (Full Organ). [4:13] HW1