Anonymus, Fuga Es dur

Date: April 25,  2017

I am always intruiged by pieces whose composer is unknown. This fugue in E flat major is one such piece. The manuscript I transcribed it from is largely filled with works by J.S. Bach together with a few works by other composers. And this fugue. It is a cleverly constructed.

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Johann Georg Meister (1793 - 1870) was a German organist and composer. He was organist in the Stadtkirche in Hildburghausen. His opus 11 is available as a digital copy in the Saxon State and University Library Dresden. Number 4 in this opus is a 'prelude for 2 manuals and pedal'..

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The second appendix of Schmieder's catalog of works by Bach contains the works of which Bach's authorship is uncertain. The choral prelude to "Allein Gott in der Höh sei Ehr" is number 48 in this second appendix. There is some evidence that is might be composed by Johann Gottfried Walther..

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Kauffmann's first prelude on "Valet will ich dir geben" calls for a combination that I by now consider as 'typically Kauffmann': Fagott 16', Quintadena 8' and Principal 4'. It's not the exact combination that is typical, but the combination of flavors: a reed, a quintadena, a 16-feet register and a.

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Bach's authorship of this piece is uncertain, hence its catalogisation in Anhang II of Schmieder's Bachwerke Verzeichnis. Two sources for this piece are available online. Though it's clearly the same piece, both sources differ in lots of details. The one from manuscript Mus. Hs. 35149, available at the Östereichische Nationalbibliothek.

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Bach's authorship of this piece is uncertain, hence its catalogisation in Anhang II of Schmieder's Bachwerke Verzeichnis. Two sources for this piece are available online. Though it's clearly the same piece, both sources differ in lots of details. The one from manuscript Mus. Hs. 35149, available at the Östereichische Nationalbibliothek.

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Richter's trio on "Aus tiefer Noth schrei ich zu dir" is the last one of his six trio's from opus 20. It is again a well crafted piece, that shows Richter's fondness of the old strict contrapuntal style. The phrases of the choral melody are presented in all three voices.

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The fact that this piece once was numbered as BWV Anh II 47 means that is was considered to be possibly a piece by Bach. Later it was established that it was in fact written by Johann Peter Kellner. The misattribution to J.S. Bach however is understandable. Kellner wrote an.

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Manuscript Mus. Ms. 30377, owned by the Staatsbibliothek Berlin, contains four Prelude & Fugues by Johann Schneider. In the manuscript they are called just 'Praeludium', but since the fugue-part of the pieces is very prominent, I decided to include it in the title. This Präludium in G major is the.

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Johann Pachelbel may or may not have been the teacher of Andreas Armsdorf. Fact this that both composed a chorale prelude on the melody of "Wie schön leuchtet der Morgenstern" that show some striking similarities. Both have the melody in the pedals, accompanied in rapid flowing figures in the hands..

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Andreas Armsdorf (1670 – 1699) was a German composer and organist. He worked as organist in various churches in Erfurt: Reglerkirche, Andreaskirche, and Kaufmannskirche. Possibly he studied with Johann Pachelbel, but that's not certain. Armsdorf's chorale prelude on "Wie schön leuchtet der Morgenstern" shows a striking similarity with Pachelbelk's work.

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The third prelude of Kauffmann's "Harmonische Seelenlust" that employs the oboe for the choral melody is as beautiful as the two I posted earlier. This time it is a slow movement, full of 'Seufzer' in the organ part. The registration prescription Kauffmann gives for these pieces with oboe is interesting.

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Kauffmann's prelude on "O heiliger Geist, o heiliger Gott" calls for the almost impossible combination of a Quintadena 16' and Fagot 16' in the left hand and a Vox Humana in the right hand. The Müller organ in Haarlem is not exactly a small organ, but I had to use.

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Richter's fifth Trio from his opus 20 is the only 'free' trio of the 6 contained in that opus. Unlike the five others it is not based on a choral melody. Intruiging is that the style is more modern than the style of the other 5. Still not what you.

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Kauffmann's prelude on "Herzliebster Jesu was hast du verbrochen" is short but ingeniously constructed. It starts as a fugue on the first phrase of the choral melody. The third entry is in the soprano, that continues with the choral melody, while the bass enter with the fourth statement of the.

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