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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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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