The melody for "Ach Herr, mich armen Sünder" is the same as the melody for "Befiehl du deine Wege", which was the subject of last week's post. Though subject matter and even the tomality are the same, Zachow creates a vastly different piece than Tag. Where Tag's composition is the.

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It's already more than a year ago I published something from Christian Gotthilf Tag. And there are a few more of his compositions available in manuscript form or in the form of an early edition. So, to make a good start of 2021, here is a newly typeset score of.

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Rudolf Löw, Fuga c moll, op. 1 nr 10

Date: November 29,  2020

Rudolf Löw (1832 - 1898) was a Swiss organist and composer. He was a student of Carl Ferdinand Becker (Orgel) and Ignaz Moscheles (Piano). In 1864 he became first organist in the newly build Elisabethkirch. As composer he wrote mostly in a style inspired by the old masters of counterpoint.

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Judging by the length Kirchhoff's chorale prelude to "Freu dich sehr, o meine Seele" is his most ambitious compositon contained in manuscript Mus. Ms. 40037. It consists of 4 variations on the choral melody and concludes with a chorale harmonization. The first variation is a two part canon of the choral.

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The choral preludes "Erbarm dich mein, o Herre Gott", LV 28), shows Zachow mastered counterpoint to a high level. The manuscript subtitles this composition as "Choral con Fuga et contrasubjecto". Though it's not a fugue in the true sence, the accompaniment of the choral melody is build on two different.

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Richter's Prelude and Fuge in E flat major is again a great work. Richter's idiom is thouroughly rooted in Baroque idiom and rhetoric , as is for example evident from the 'Seufzer'(sigh) figure in the prelude. The prelude and fugue fit very well together. In the fugue Richter follows the.

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Last year I published all the works contained in manuscript Ms Lynar B3. Or so I thought. Today I wanted to create and upload a spotify playlist for all those pieces and found one missing. I did create a score for it, but I somehow forgot to publish it. Well,.

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Almost 6 months ago I made a transcription of the middle part of Vivaldi's third Flute Concerto. Today, I heard someone play a transcription of the second part of Vivaldi's Violin Concerto l'Inverno on organ. As I liked the effect of this piece on organ, I wanted to play.

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This choral prelude on the melody of "Was mein Gott will das g'scheh allzeit" is a straightforward piece. The introduction is a short fugato on the first line of the choral melody. Then follows the complete chorale melody as a solo voice, accompanies by rapid sixteenth notes in the left.

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It's been a while since I published a composition from manuscript Mus. Ms. 40037. The last one was Kirchhoff's ciaconna on Ach, Herr mich armen Sünder. The next composition in the manuscript is a ciaconna as well, on the melody of "Herzlich lieb hab ich dich, O Herr". It.

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Even though I love Baroque music, it is not the style of music I like to use to write music. If music is like story telling, the Baroque style is not the what I would like to tell my story in. For my story, it is not the right sound..

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Auke Jongbloed, Fugue (g minor)

Date: May 02,  2020

My study annex music room is a mess, let's be honest about that. It is crammed full with four instruments (organ, piano, violin and a guitar), books, materials of three studies (biochemistry, IT and music), music scores, piles of paper, two desks, two computers, an old radio from the 1950's.

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The only source available for this composition is the Frankenberger manuscript, in the posession of "Het Nederlands Muziekinstituut", the national library of The Netherlands. The manuscript is named after one of the former posessors and not after the scribe. The scribe of the manuscript was Johann Gottfried Walther. He wrote.

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There remains no autograph of this the Trio in d minor, BWV 583. All sources of this work are copies written somewhere after Bach's death. Though there were once 11 manuscripts with a version of this Trio, nowadyas only four manuscripts survive. Some of the now lost manuscripts were used.

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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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