The chorale prelude on "Lobe den Herren den mächtigen König" by Kirnberger is contained in at least two manuscripts, both owned by the Staatsbibliothek Berlin: Am B 396 and Mus.ms. 11633/25. The versions in both manuscripts differ from each other. The general outline is the same, but lots of little.

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Johann Schneider, Trio a moll

Date: March 16,  2016

Another piece that makes me regret there is so litlle of Schneider's music left. This Trio in a minor follows the pattern often used by Krebs as well: a slow introduction, followed by a more lively second part. Regrettably, the Trio is left unfinished in the manuscript source I use..

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The chorale preludes of Kehl follow mostly the same basic pattern: a short introduction, the melody in the right hand addorned with grace notes, and a repetition of the introduction. The prelude on "Straff mich nicht in deinen Zorn" follows this pattern, with just a slight variation in the concluding.

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The chorale preludes by Kirnberger, contained in Manuscript Am. 386, owned by the Staatsbibliothek Berlin vary greatly in scope and texture. They range from elaborate bicinia, through virtuosic trio writing to four part textures. And from short to long. The prelude on the choral "Jesus meine Zuversicht" is in four.

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Lohet, Undecima Fuga

Date: March 11,  2016

Playing the eleventh fugue of Lohet one wonders wether Bach knew the fugues of Lohet. The theme of the fugue BWV 878 is the same as the theme of Undecima Fuga. And Bach uses some of the same stretto constructions Lohet used in his fugue. Of course, Lohet's fugue is.

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Manuscript Am. 386, owned by the Staatsbibliothek Berlin contains some 20 chorale preludes by Johann Philipp Kirnberger. And one by a certain "Mademoiselle Grunow". It's probably not a coincidence a collection of works by Kirnberger contains one work by this Mademoiselle Grunow. But it remains a mystery who she was.

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I already posted two preludes by Kirnberger on the choral "Wer nur den lieben Gott lässt walten", but here is another one. There is even a fourth that I know of. That'll follow at a later date. The recording was done on the sample set of the Holzey organ of St..

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The second choral prelude by Johann Schneider on the choral "Vater unser im Himmelreich" was written pro organo pleno. It has the choral melody in the pedal in long solemn notes. In good baroque tradition each phrase of the melody in the bass line is introduced by itself in the.

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Of the few surviving choral bound works of Johann Schneider, two are based on the choral "Vater unser im Himmelreicht". They are both finely crafted works that show we have much to regret that so few of his works have survived. The first has the canto fermo in the soprano voice..

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Simon Lohet, Decima Fuga

Date: March 03,  2016

The tenth fugue by Lohet is a lively piece. It's not exactly a mono thematic fugue, as there are four different segments discernable. Actually quite an achievement for a piece of only 46 bars. The f againt f sharp in bar 41 is really notated as such in Woltz's edition. Could.

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Johann Balthasar Kehl (1724 - 1778) was a German organist, cellist and composer. A few months ago I started a series with Kehl's choral preludes, but only uploaded one piece. So it's time to continue. The choral "So gehst du nun mein Jesu hin" depicts the time of.

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Johann Schneider (1702 - 1788) was a German organist, violinist and composer. He was born in Oberlauter in Coburg as son of a miller. His musical training began at age 6. The first 8 years he was taught keyboard and composition by Nicolaus Müller. After that folowed three yeaurs of.

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Simon Lohet, Nona Fuga

Date: February 08,  2016

Lohet's Nona fuga has a far more subdued character than most of the preceeding fugues. I think it can best be played with use of the pedals. But I made a manuals-only version as well The recording was done on the sample set of the Silbermann organ of the Stadtkirche Zöblitz.

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Simon Lohet, Octava Fuga

Date: February 03,  2016

Another dance-like fugue of Lohet. Apart from some unusual (to our 'modern' ears) harmonic progressions, this piece could have been written a 100 years later than it actually was. The recording was done on the sample set of the Holzey organ of St. Peter and Paul in Weissenau by Prospectum. Score Read More

Simon Lohet, Septima Fuga

Date: January 31,  2016

Lohet's Septima Fuga is actually two small fugues in one piece. Two different (but related) themes each get an exposition and then the fugue is over. Yet it is a pleasant dance like piece, like most of these fugues from Lohet. The recording was done on the sample set of.

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