Johann Christoph Oley, Wir Christenleut

Date: September 21,  2015

Oley's choral prelude on "Wir Christenleut" is a nice piece in itself. But it seems to me more melancholy than the text of the choral would suggest. The recording was done the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Wir.

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Mohrheim's third Trio in g moll is probably the best known of his 7 Trio's. It is set up as a three voice fugue. The trickiest point in the score is a long trill in the pedal. I managed the trill, but lost the tempo a bit... ;-( The recording was.

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Oley's choral prelude on "Wie soll ich dich empfangen?" starts promising, but is over before you know it. It's still a nice piece, but I think Oley could have done more with the basic material. The recording was done the sampleset, made by Sonus Paradis, of the Transept organ in.

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Manuscript Mus.ms. 22541 II (owned by the Staatsbibliothek zu Berlin - PK) contains 73 preludes based on chorales suitable for the Christmas period. I won't publish all 73 of them, but some 30 or 40. Nevertheless, that's still a lot of pieces, so I better start now, in an attempt.

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Johann Christoph Oley, Jesu meine Zuversicht

Date: September 15,  2015

Oley's choral prelude on "Jesu meine Zuversicht" is a lively piece, in line with the meaning of the text. The recording was done the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Jesu meine.

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Mohrheim wrote 7 Trio's for organ. The first was published a few weeks ago. This is the second Trio. The rest will follow in the coming weeks. The recording was done the sampleset, made by Sonus Paradis, of the Transept.

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"Ich singe dir mit Herz und Mund" is the 12th choralprelude by Oley, published on this site and transcribed from Mus.ms 30190. The manuscript contains 12 more choral preludes by Oley, so I'm now halfway done. The recording was done the sampleset, made by Sonus Paradis, of the Transept organ.

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Johann Georg Schübler, Trio für Orgel

Date: September 09,  2015

A few months ago I posted a fugue by Johann Georg Schübler. The only other piece by his hand that I know of, is the Trio presented here today. It is a charming piece to listen.

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This choral prelude is based on the same melody that Bach uses for his partita BWV 767. It is a slow flowing embellishment of the choral melody. Near the end I added some coloratura in my performance. The piece is a bit repetitive in my opinion otherwise. The recording was done.

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Two verses of the chorale "Allein Gott in der Höh sei Ehr" by Vetter survive in the Frankenberger Manuscript. I posted the first one a few weeks ago. The second one follows today. One could argue that these.

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Friedrich Christian Samuel Mohrheim (1719 - 1780) was a German musician. He attended the Thomasschule in Leipzig from 1733 to 1736, and, like other J.S. Bach's pupils, acted as copyist for him during this period. His handwriting is recognizable in copies of for example the Mattheus Passion. In 1764 he.

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The third prelude by Johann Bernhard Bach on "Wir glauben all' an einen Gott", found in the Frankenberg manuscript. The recording was done with the sampleset, made by Organ Art Media, of the Arp Schnitger organ in Steinkirchen. Score Bach, Wir glauben all an einen Gott.

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This chorale prelude by Kirnberger comes from an autograph that was part of the Amalienbibliothek in Berlin. The Amalienbibliothek in Berlin is not an actual building, but rather the name of an extensive music collection, amassed by Anna Amalia von Preussen. It is now held by the Staatsbibibliothek in Berlin. The.

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Johann Christoph Kühnau (1735 - 1805) was a German composer and conductor. He was born in Volkstädt, near Eisleben. He received his musical training early in live from a town musician in Ascherleben. In 1763 he became teacher at the Realschule in Berlin, in 1788 at the Dreifaltigkeitsschule and in.

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This chorale prelude is a relatively simple bicinium. The left hand provides a lively accompaniment to the chorale melody in the right hand. What makes this piece more interesting, is not the music itself, but the curious fact that Johann Christoph Kühnau added a part for the right hand between.

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