One of the three preludes by Buttstett on "Gottes Sohn ist kkommen". It has the melody in the bass. The recording was done on the new sample set of the Holzey organ of St. Peter and Paul in Weissenau by Prospectum. Since the chorale melody is in the bassline,.

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The third prelude from Vallade's "Dreyfaches Musicalisches Exercitium". Even though Vallade uses a typical Baroque form, this prelude show clearly the transtition to the classical period. For a short biography and the first prelude see here The recording was done on the new sample set of the Holzey organ of.

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Johann Baptist Anton Vallade, Preambulum II

Date: December 17,  2015

The second prelude from Vallade's "Dreyfaches Musicalisches Exercitium" is a gently flowing piece. Unlike most other fugues by Vallade, this fugue is three parts throughout the whole piece. For a short biography and the first prelude see here The recording was done on the sample set of the Silbermann organ.

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Johann Baptist Anton Vallade, Preambulum I

Date: December 16,  2015

Johann Baptist Anton Vallade was born circa 1720 in Ingolstadt and lived till presumably 1780 in Mendorf. Not much is known about his life. He must have been educated in or around Ingolstadt. In 1747 he first appears as an organist at the small church of Mendorf, a position he.

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Walther is of course well known, and as such not really the subject of Partitura Organum. But this piece is too beautiful and fits the time of year too well to ignore. It is one of three preludes Walther wrote on the theme of "Nun komm der heiden Heiland". It.

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The second prelude on "Sei Lob und Ehr dem höchsten Gut" is the more interesting of the two. Having a flowing almost dancelike 12/8 rhythm it bears a strong resemblance to the prelude on "Jesu, Leiden Pein und Tod" I posted Read More

The chorale "Sei Lob und Ehr’ dem höchsten Gut" was written in 1673 by Johann Jakob Schütz. It was sung on the melody of "Es ist das Heil uns kommen her". Bach wrote his cantate and chorale prelude using this melody and so does Kittel. This first prelude by Kittel.

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Mus.Ms. 22541 II contains three chorale preludes by Buttstett on "Gottes Sohn ist kommen". The first of the three has the chorale melody in the bass, with lots of embellishments and flourishes in the other voices. The recording was done with the sampleset, made by Organ Art Media, of the.

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"Valet will ich dir geben" ("I want to bid you farewell") is a Lutheran hymn, written by Valerius Herberger in 1613. Herberger wrote the hymn in response to the plague in Fraustadt, as a hymn for the dying. Kittel wrote a short manualiter fugue on the first phrase of the.

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One of the many short choral preludes by Kittel. It is setup as a fugue on the first phrase of the melody. The recording was done on the sample set of the Van Dam organ (1832) from Tholen by Voxus Organs for Hauptwerk. Score Kittel, Her Jesu Christ, dich zu.

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The Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) owns a manuscript (Mus.1-U-514) which contains works by Johann Christian Kittel. They range from very short preludes to elaborate sets of variations. A few months ago I allready posted two works from this manuscript (Read More

Balthasar Kehl (1724 - 1778) was a German organist, cellist and composer. He began his education at the Ratschule in Coburg in 1734 and in 1742 he moved to Bayreuth, where he studied under Johann Pfeiffer. In 1740 he became cellist in in the court musical ensemble. In Bayreuth he.

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One of the surviving works of Andreas Kneller is a set of eight variations on "Nun komm der heiden Heiland. Variations IV and V of the set variations on "Nun komm der heiden Heiland" are also found in manuscript Mus. Ms. 22541 of the Berlin Staatbibliothek. I present them as.

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There are two preludes on "Nun komm der heiden Heiland" by Zachow in Mus.ms.22541 II. This is the second of the two. Just like the preludes by Vetter and Buttstett, it is a fugue on the first phrase of the chorale melody. However, unlike the preludes by Vetter and Buttstett,.

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There are two preludes on "Nun komm der heiden Heiland" by Zachow in Mus.ms.22541 II. This is the longest of the two. Each melodic phrase of the chorale gets a fuga-like treatment with each phrase appearing in each of the four voices. The recording was done on the sample set of.

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