Manuscript Mus Ms 30376 (Staatsbibliothek Berlin) contains 4 chorale prelude that were certainly written by Sorge and 2 that were probably/possibly written by Sorge. Combined with the Sorge preludes from the Neumeister Sammlung, and the preludes from Go. S. 597 (Sachsische Landes- und Universitätsbibliothek Dresden) I'm building a nice collection.

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Ernest Grosjean, Prière

Date: April 08,  2018

Ernest Grosjean (1844 - 1936) was born in Vagney (Vosges). After studying piano, organ, harmony, music composition and fugue he became organist in the cathedral of Uzès (Gard) in 1864. Four years later he became maître de chapelle of the Verdun Cathedral, a post he held until 1935. The last.

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Kittel's sixth and last fugue is the most ambitious of the six. It has all the usual trickery of a fugue: inversion, dimunition, augmentation, and stretto. The only thing missing is the backwards motion of the theme. Though it's of course possible that it's there and I have not found.

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The original source of this piece in manuscript Am B 340 is a Fantasia in D Dorian by Johann Pieterszoon Sweelinck. The original fantasia is some 12 minutes long. Karges boils it down to around 3 minutes. He takes the opening fragment and two fragments near the end of.

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Kittel's fifth fugue is a three voice fugue with a chromatic theme. The the appears some 13 times in just 48 bars, two times in a row in one voice and once in stretto. The counter voices are often chromatic as well, leading to a piece that touches all physical.

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Kaufmann wrote three choral preludes to "Vater unser im Himmelreich". The first is a powerfull 4-voice fugue on the first phrase of the chorale melody. Kauffmann shows he knew his counterpoint. The theme enters 12 times, 3 three times in each of the four voices. The score helps hearing each.

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Not a suitable chorale to celebrate the day, just a playful, merry fugue. Two voice fugues are perhaps the most difficult to write, and the most difficult to play. Every little detail in the voice leading can be heard, as every little detail in articulation can be heard as well..

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Bach's authorship of the this choral prelude to "Da Jesus an dem Kreuze stund" is doubted. It doesn't even appear in the annex (Anhang) to the BWV-catalogue of Bach's works. It does however appear in the Emans-catalogue, where it has number 48. The only manuscript source of this piece is.

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In the years around 1770 a little tradition developed in Berlin to compose and publish small collections of manual fugues, that could either be played on the organ or on the harpsichord. Examples of these collections exist from Wilhelm Friedemann Bach, Carl Philip Emanuel Bach, Johann Christoph Kellner and Johann.

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Wilhelm Karges, F.S., Fuga d moll

Date: March 29,  2018

Manuscript Am B 340 contains two fugues, that have the initials "F.S" written beneath the title. Presumably those are the initials of the original composer of this fugue. Alas, I have no idea who these initials belong to. The first fugue is available here. The second fugue is equally.

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In the years around 1770 a little tradition developed in Berlin to compose and publish small collections of manual fugues, that could either be played on the organ or on the harpsichord. Examples of these collections exist from Wilhelm Friedemann Bach, Carl Philip Emanuel Bach, Johann Christoph Kellner and Johann.

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Manuscript Mus ms Bach P287, owned by the Staatbibliothek zu Berlin, contains 6 keyboard fugues by Johann Christian Kittel. They are amongst the first works I transcribed, back in 2014, practising my engraving software and trying out different layouts for my scores. I never published them, because they were to.

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This is the fifth prelude in which Kauffmann employs the oboe to play the choral melody. The organ plays an elegant trio to accompany the oboe. Kauffann is not only the inventor of the genre, he also brings it to great height. It's almost as if not having to worry.

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Wilhelm Karges (?), Præludium d moll

Date: March 22,  2018

Manuscript Am B 340 contains three pieces that are generally believed to be composed by Karges himself. These are a Fantasia, Capriccio (though Karges composed only the first half) and a Præludium . The pages in the manuscript, immiadetely following the pages on which Karges' Præludium is.

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Johann Michael Bach's prelude to "Der du bist drei in Einigkeit" is a well written four part piece. The tonal development is a bit strange. The piece start with a G major chord and ends with and A major chord. In between the music seems to hesitate between G major.

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