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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The chorale prelude on "Nun komm der heiden Heiland", BWV 660, is a well known part of the 18 Leipziger Choräle. BWV 660b is a variant of this well known prelude, found in at least two manuscripts by the hand of Johann Gottfried Walther. It has the cantus firmus unadorned.

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Buxtehude's chorale prelude presents the chorale in the top voice, where it is gracefully and not too elaborately ornamented. Short interludes seperate the melodic phrases from each other. The interlude in bars 14 and 15 has a small surprice: the first melodic phrase of the chorale melody is presented again,.

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Buttstett was the successor of Vetter in the Predigerkirche in Erfurt. It's possible that Buttstett knew this chorale prelude by Vetter when he wrote his own prelude on the same melody. Both pieces are quite alike, manualiter fugues on the first.

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The last piece from manuscript Mus.ms. 30190 is a prelude on "O Welt, sie hier dein Leben". It's a four voice piece, with the cantus firmus in the alto voice. It's bit difficult to hear, but it's defenitely there. And this is the last piece by Oley for now. Perhaps.

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A while ago I posted a transcription by Arno Rog of the Siciliano from the flute sonata, BWV 1031. Today I made a transcription myself, of the Siciliano from the Violin Sonata, BWV 1017. Unlike BWV 1031, this transcription.

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A simple yet beautiful manualiter prelude of this Lutheran chorale. It is set up as a fugue on the first line of the melody of the chorale. The theme appears 12 times, four of which in the first four bars in a dense stretto treatment. The recording was done with the.

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This short prelude by Oley on "Werde munter mein Gemüte" shows his fondness of strict canon. The recording was done with the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Werde munter mein Gemüte.

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Andreas Kneller ((1649 - 1724) was born in Lübeck and became Melchior Schildt's successor at Hannover in 1667. In 1685, sponsored by his father in law, Reincken, he became organist at St. Petri in Hamburg. He stayed there until his death. His preserved works consist of three preludes and fugues.

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A manualiter piece, a little longer than most of the other chorale preludes by Oley. The recording was done with the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Nun lob mein Seel den.

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Auke Jongbloed, Jesu der du meine Seele

Date: October 27,  2015

The work on Mohrheim's Trio 7 reminded me of a chorale prelude I composed myself many years ago. I wrote it somewhere in the time I studied harmony and contrapunt. I have no idea why.

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