Kirchhoff seems to have elvated the ciaconna to his trademark technique for writing a choral prelude. His prelude to the famous melody of "Ach Herr mich armen Sünder" has a theme of eight bars in the bass voice that is repeated nine times in a row. Above the repeating.

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Wilhelm Karges. B.M, Capricio in A

Date: March 20,  2020

The Capricio in A, written on folio 27 of manuscript Am.B 340 bears the intials "B.M.". It is unknown which composer is meantby these initials. As Karges was familiar with the circle of Sweelinck students, it is intruiging to note that one of the composers in Ms Lynar B3 is.

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In his adaptations Karges did not only shorten the original compositions he based his adaptations on, sometimes he elongated the originals as well. The Ricercar Primi Toni is an example of the latter. This piece is based on Sebastian Anton Scherer's Intonatio Secunda Primi Toni. In 1664 Scherer published his.

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Antonio Vivaldi never was a composor of organ music. Yet some of his works lend themselfes perfectly for transcription for the organ. One of those pieces is the second movement of Vivaldi's third Flute Concerto, also known as "Il Gardellino". This transcription is a bit of a solfeggio exercise for.

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Wilhelm Karges, Fantasia in D

Date: March 06,  2020

The Fantasia in D, written on folio 25 of manuscript Am.B 340 is again an anonymous work. It is again an Echo Fantasia and has many similarities with the preceding one. I am inclined to think that this composition, like the one preceding it in the manuscript, is based on.

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Zachow's prelude to "Warum betrübst du dich mein Herz" (LV 52) consists of two seperate movenements in manuscript Mus ms 40037. In the catalogue of Zachow's compositions they are listed under the same entry, LV 52. Nevertheless I think they are not meant as a coherent whole, just two different.

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Karges was familiar with the compositions of Sweelinck through Andreas Düben (1597 - 1662). Düben was a pupil of Sweelinck in Amsterdam from 1614 to 1620. And when Düben became organist of the German church in Stockholm in 1625, Wilhelm Karges was his assistent for a short while. This explains.

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One of the most unusual compositions of Johann Sebastian Bach, perhaps you might even call it unique, as it is literally one of a kind is the choral prelude to the choral "Erbarm dich mein, O Herre Gott". It is unusual in Bach's oeuvre in that it does not contain.

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The Sächsische Landes- und Universitätsbibliothek in Dresden posesses a manuscript of 12 organ compositions by Rudolf Löw's hand. It is his opus 1, which he dedicated to his teacher Carl Ferdinand Becker. Löw mostly emplois forms and procedures from the Baroque era with a harmonic language that is sometimes slightly.

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Karges includes in his manuscript (AM B 340, owned by the Staatbibliothek Berlin) at least three works composed by Heinrich Scheidemann. One of those three appears without Scheidemann's initials in this manuscript, but is known to be a composition of Scheidemann from others manuscripts. It is not unlikely that ons.

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The prelude to "Wer nur den lieben Gott lässt walten" is already the third of the 7 choral preludes by Kirchhoff's hand I intend to publish. Kirchhoff gave it the form of an organ Trio with the choral melody as bass melody. It is a bit surprising how simple and.

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In manuscript Am. B. 340 Karges writes "J.P." below the the title of this composition. And in this case it is certain that he means Jan Pieterszoon Sweelinck, as this piece is based on Sweelinck's Echo Fantasia d4, SwWV 261. The first 14 bars are (almost) identical to Sweelink's original,.

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The prelude to "Meinen Jesum lass ich nicht" is the second of the 7 choral preludes by Kirchhoff's hand I intend to publish. Technically it is not a difficult composition to play. It does however riase some questions aqbout how to perform it. The left hand plays a one part.

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Even though Karges writes no initials below the title, the Fantasia in G is an adaptation of Scheidemann's Canzona, WV 74. Karges does not introduce new elements in the composition, he just makes it a bit shorter, by cutting out the parts he (presumably) found less interesting. Where Scheidemann's original.

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Zachow's choral prelude to "Jesaia dem Propheten das geschah" consistst of three different movements. The first of these has no direct relation to the choral and is probably just an introduction to what follows. As the manuscript is not an autograph but a copy made some 50 years after Zachow's.

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