This is the second piece of manuscript Mus ms 30439 I do not know the composer of. Again, it is a beautifull choral prelude by someone who clearly knew what he (she) was doing. My teacher used to tell me how effective it could be to let the solo voice of a composition or improvisation enter on a dissonant. That’s exactly what the composer of this piece does.
The procedure in this composition returns in several of the other compisitions in the second fascicle of manuscript Mus ms 30439. The piece starts with a four part fugue on the first notes of the choral melody. After four entries of the theme, the soprano voice is silent for a few bars. Then the soprano reenters to state the full choral melody.
It’s not clear from the manuscript wether the choral melody is meant as true solo or not. Thus it’s up to the player to make the choice he or she likes. In “Aus tiefer Noth” I treated the soprano voice as solo. In this piece I play the soprano on the same manual as alto and tenor.

The recording was done on the sample set of the Müller-organ in the Sint Bavokerk in Haarlem by Voxus Organs for Hauptwerk.

BW: Praestant 8′, Octaaf 4′, Nasard 3′, Nachthoorn 2′, Mixtuur, Schalmei 8′
Rw: Praestant 8′, Fagot 16′
Ped: Praestant 16′, Octaaf 8′, Octaaf 4′, Trompet 8′

pdf_iconAnonymus, Gott sei gelobet und gebenedeiet, Mus ms 30439


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