The Lynar manuscripts were preserved in the holdings of the Duke of Lynar in Lübbenau, and are therefore also known as the Lübbenauer Orgeltabulaturen. Two of them, large codices in staff notation, bear the designation Lynar A1 and A2. The eleven disparate fascicles in German organ tablature bear the designation B1 to B11. The B-collection represents the most comprehensive source of works by North German composers who were students of Sweelinck. Lynar B3 contains 38 pieces, 11 of which can be assigned to specific composers: Jan Pieterszoon Sweelinck, Heinrich Scheidemann, David Abel, Andreas and Martin Düben, Petrus Hasse, and Simon Lohet. The composer(s) of the other pieces remain(s) anonymous. Where the preludia I transcribed until now seem for the most part early works of a young starting composer or even student works, the prelude to “Herr Christ, der einig Gottes Sohn” seems a much more mature work. The chorale melody is played in the right hand, as the piece progresses more and more eleborately ornamented, like Buxtehude did in his chorale preludes. Only this prelude was written some 10 or 20 before Buxtehude’s. The left hand and feet play an accompaniment in which elements of the choral melody can be heard as well. Al in all an intruigingwork, that makes one wish the composer were known.
The recording was done on the sampleset, made by Voxus, of the Matthijs van Deventer-orgel in the Grote Kerk, Nijkerk.
Anonymus, Herr Christ, der einig Gottes Sohn