The third and last work by Christian Geist in the Uppsala manuscript is a choral prelude on "Lofvad vare du Jesu Christ", in other parts of the world known as "Gelobet seist du Jesu Christ". It is again a fine example of the Northern German organ style. The original is.

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Simon Lohet, Sexta Fuga

Date: January 28,  2016

Lohet's sixth fugue, though short, uses contrapuntal devices as stretto and diminution and combines them as well. In that respect it is more modern than the fifth fugue. The harmonic progression though is in places still quite 'old'. The recording was done with the sampleset, made by Sonus Paradis, of.

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Simon Lohet, Quinta Fuga

Date: January 23,  2016

Lohet's Quinta Fuga (I follow the designation in the original Edition, instead of naming it Fuga Quinta) shows its Renaissance roots more than the previous four. It uses frequent repeated chords, a device we nowadays don't associate with the contrapuntal style of a fugue. And it uses (again) frequent parallel.

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The second chorale prelude by (presumebly) Christian Geist in the Uppsala manuscript uses the melody Wolfgang Dachstein wrote for "Aus tiefer Not schrei ich zu Dir". It is a fine example of the Northern German organ style. If anyone would have told me it was written by Buxtehude, I would.

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Christian Geist, Allenaste Gud i himmelrik

Date: January 20,  2016

Christian Geist (c. 1640 – 1711) was a German composer and organist, who lived and worked mainly in Scandinavia. He was born in Güstrow, where his father, Joachim Geist, was cantor at the cathedral school. In 1670 Geist moved to the Swedish court orchestra under Gustaf Düben the elder (ca..

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Simon Lohet, Fuga Quarta

Date: January 19,  2016

The fourth fugue of Simon Lohet offers a few surprises. At least to me. Firstly, parallel fifths and parallel octaves apparently weren't as 'forbidden' in Lohet's days as they became in later years. In this fugue there are some blatant examples of them, as well as in later fugues. And.

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Simon Lohet, Fuga Tertia

Date: January 14,  2016

The third fugue of Lohet from Johann Woltz’s Nova musices organicae tabulatura (Basel, 1617). The recording was done with the sampleset, made by Organ Art Media, of the Arp Schnitger organ in Steinkirchen. Score Lohet, Fuga.

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Simon Lohet, Fuga Secunda

Date: January 11,  2016

The second fugue of Lohet from Johann Woltz’s Nova musices organicae tabulatura (Basel, 1617). The harmonic progression in this second fugue sometimes sounds a bit strange to our "modern" ears. But for the largest part it sounds like it was written decades later. Transcribing these fugues is already my pet.

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A little left over from the Christmas period. I forgot to post this one three weeks ago. I could wait till the end of this year, but chances are I'd have forgotten this piece altogether. The manuscript gives no composer for this piece. But since the preceding piece in the manuscript.

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Simon Lohet, Fuga Prima

Date: January 09,  2016

Simon Lohet (Loxhay) (c. 1550 – 1611) was a Flemish composer, possibly born in Maastricht. During his live he was mostly active in Germany. He was organist of the Württemberg court of count Louis VI. Lohet made several trips to the Low Countries in the 1570s and to Venice in.

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Samuel Michael David Gattermann (1748 - 1829) was Kantor in the St. Petri Kirche in Berlin and taught at the Kolnische Gymnasium. He was a pupil of Johann Philipp Kirnberger. He was an educated musician with particular interest for church music. The choral prelude Jesus meine Zuversicht is found in.

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A festive prelude for a festive day. Played with with plenum of first two manuals, and the powerful Bombarde 16' in the pedals. The recording was done on the sample set of the Holzey organ of St. Peter and Paul in Weissenau by Prospectum. Score Buttstet, Golebet seist du Jesu.

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Johann Friedrich Alberti (1642 – 1710) was born in Tönning, Schleswig. He received his musical training in Leipzig from Werner Fabricius and in Dresden from Vincenzo Albrici. Then he worked as an organist in Merseburg cathedral until his departure in 1698 caused by the paralysis of his right hand because.

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The seventh and last prelude (and fugue) from Vallade's "Dreyfaches Musicalisches Exercitium". For a short biography of Vallade and the first prelude see here. The original is written on just two systems, leaving the player to guess what is to play with the hands and what with the feet. Or,.

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Johann Baptist Anton Vallade, Preambulum VI

Date: December 22,  2015

The sixth prelude from Vallade's "Dreyfaches Musicalisches Exercitium". For a short biography of Vallade and the first prelude see here. Again, I took the liberty to add some notes, in my performance, this time in the fugue. Just to give a bit extra motion to the second half of the.

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