- Magnificat Primi Toni, Part II
[16:4]
Fugue 13 uses a 5-note repeated note pattern in its subject, Fugue 14 has a smoother subject with only 3 repeated notes and an expressive drop of a
diminished seventh interval, the subject for Fugue 15 uses alternating high and low pitches that seem designed for two feet in the pedal, again quite
distinctive, Fugue 16 is based on an agreeable little twisting melody, Fugue 17 is in two voices which are registered on separate divisions, Fugue 18
has a syncopation in it and alternates between a long and short beginning, Fugue 19 uses an upward chromatic pattern and there is a separate
countersubject, though only 2 measures long, the subject of Fugue 20 suggests a basic harmonic pattern of I-V-I-IV-I, in cotrast, the 1-measure
subject for Fugue 21 can be said to stay in the same key throughout, the first measure of the subject for Fugue 22 shares the same notes as that of
Fugue 23, but repeated notes are used in the latter, which is also played on a fuller organ, since it is the last of this large set of fugues. Uses
the extended set.
Instrument:
A. Cavaillé-Coll Organ, originally Paris, France, moved to Mainz, Germany (1877) -
Samples by Prof. Helmut Maier
- Chorale Text
German:
Meine Seele erhebet den Herrn, und mein Geist freuet sich Gottes meines Heilands.
English:
My soul doth magnify the Lord, and my Spirit hath rejoiced in God my Saviour.
--St. Luke 1:46-47
Audio track was created with Hauptwerk v. 1 software
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