A nice little prelude by Kittel, one of the many from a manuscript Mus.1-U-514. Based on the last two notes it is probably meant for harpsichord, yet it sounds equally well on an organ. The recording was done on the sample set of the Silbermann organ of the Stadtkirche Zöblitz.

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Kauffmann wrote two preludes to "Es ist das Heil uns kommen her". The second one is a nice bicinium. Kauffmann prescribes again a curious combination of stops: a Vox Humana 8' and a Fagott 16'. And leaves it to the performer to decide which hand should play which stop. The.

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Kauffmann wrote two preludes to "Es ist das Heil uns kommen her". The first is a three part setting with the chorale melody in the soprano voice. Kauffmann prescribes 8' and 4' flutes as registration, or "das volle Werk" ( i.e. full plenum). I choose the soft variant for my.

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Sorge's prelude to "Helft mir Gottes Güte preisen" is again proof of the notion that Sorge was inspired by the tonality of g minor. The piece has a relatively lengthy 3 part introduction before the choral melody enters. For the largest part of the rest of the piece the accompaniment.

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Fröhlich soll mein Herzen springen.

Date: December 25,  2017

"Fröhlich soll mein Herzen springen" is a choral that is sung on the first day of Christmas. Sorge wrote a festive prelude for this choral melody. The left hand and feet play a fast paced accompaniment to the choral melody in the right hand. Writte in the key of E.

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Georg Andreas Sorge, Wir Christenleut

Date: December 24,  2017

The tonality of g minor seems to have been very inspirational to Sorge. Not only does he use it often (3 times in the first 6 choral preludes from this manuscript collection), he creates very elegant flowing music with it. This prelude is no exception. It has a relatively long,.

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Another nice choral prelude by Sorge. The left hand and the feet play the accompaniment for the choral melody in the right hand. The accompaniment is constructed from one melodic idea that is repeated during the piece, like a cantata aria. The recording was done on the sample set of.

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Sorge wrote a very nice chorale prelude on this melody. The left hand and pedals provide a lively accompaniment to the choral melody, that is played as solo voice with the right hand. Anyone who can play Sorge's Trios can play this piece. And it is well worth the effort..

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Tauscher, Nun komm der Heiden Heiland

Date: December 19,  2017

The source for this piece gives Tauscher the intitials "H.G." instead of "H.W." as in other sources. That could mean of course it is in fact another composer, there is no way to be sure either way. For now I consider it the same composer as he composer of the.

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Johann Gottfried Walther wrote several chorale preludes to "Nun komm der Heiden Heiland". They are all of high quality. The one labeled (by Walther himself) 'Vers 2' has the cantus firmus in the pedal. In bar 7 and 8 the first notes of the choral melody appear in the alto.

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Georg Andreas Sorge, Gottes Sohn ist kommen

Date: December 15,  2017

Georg Andreas Sorge (1703 - 1778) was a German organist, composer, and, most notably, theorist. Sorge's first professional appointment was at the age of 19 as court and town organist at Lobenstein, a position that he maintained until his death. Though Sorge is mostly remembered as theorist, he was also.

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Anonymus, Wie soll ich dich empfangen

Date: December 13,  2017

Another piece Walther left without composer in his manuscripts. Walther writes "Hautbois" where the choral melody enters. Writing music for the combination of organ and oboe seems to be an invention of Kauffmann. Yet this piece does not appear in his Harmonische Seelenlust. Did he for some reason not include.

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Johann Adolph Scheibe, Keyboard Partitas

Date: December 09,  2017

Johann Adolph Scheibe (1708 – 1776) was a German-Danish composer and critic and theorist of music. As a composer Scheibe is nowadays largely unknown. Though most of his music is now lost, he composed over 150 church pieces and oratorios, some 200 concertos, two operas, and numerous sinfonias, chamber pieces,.

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Johann Bernhard Bach wrote a nice bicinium on the melody of "Jesus, nichts als Jesus". In the left hand part Bach comes surprisingly close to the Alberti bass, an accompaniment figure often used in the Classical era. Strange to hear it in a Baroque chorale prelude. The recording was done.

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One of the two preludes Buxtehude wrote on the melody of "Herr Christ, der einig Gottes Sohn". It is written in his usual style, with a colourfull solo voice, playing the choral melody with lots of embellishments, and a artful accompaniment. The recording was done on the sample set of.

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