The Frankenberger Manuscript contains three preludes on "Wir glauben all an einen Gott" by Johann Bernhard Bach (1676 - 1749). I could not find a reference to other editions of these three chorale preludes, so this may be a first edition... The recording was done on the sample.

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This chorale prelude on "Wie schön leuchtet der Morgenstern" is for two manuals and pedal. Oley made a sparkling piece, in reference to the title of the chorale. When I made the recording I was under the impression that bar 10 was meant not to be played in the repetition..

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Johann Michael Bach (1648 - 1694) was the brother of Johann Christoph Bach and, more notably, the father of Maria Barbara, the first wife of her distant cousin Johann Sebastian Bach. Johann Michael was educated first by his father, Heinrich Bach, and then by the cantor of Arnstadt, Jonas de.

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The recording was done the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Meine Hoffnung stehet.

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The idea of this chorale prelude is somewhat reminiscent of “In dir ist Freude” from the Orgelbüchlein: a motif in the pedal that keeps repeating throughout the piece. The chorale melody is not explicitly stated, it just lends the harmonical form for a joyful piece. The recording was done the sampleset,.

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Vetter wrote a set of variations on "Allein Gott in der Höh sei Ehr" that was later misattributed to Johann Sebastian Bach as BWV 771. Probably because of this misattribution that set of variations can be found easily in the public domain. The two verses of the same chorale in.

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Manuscript Mus.ms. 30190 owned by the Staatsbibliothek zu Berlin contains two preludes from Oley on "Auf auf mein Herz, mit Freude". They're both relatively small pieces. This is the second of the two, with, somewhat uncharacteristic for the genre, an Alberti bass in the left hand. The recording was done the.

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Manuscript Mus.ms. 30190 owned by the Staatsbibliothek zu Berlin contains two preludes from Oley on "Auf auf mein Herz, mit Freude". They're both relatively small pieces. This is the first of the two, 'in Canone alla Quinta'. The recording was done the sampleset, made by Sonus Paradis, of the Read More

The fourth chorale prelude by Buttstett in the Frankenberger Manuscript on "Allein Gott in der Höh sei Ehr" is for manuals only. The recording was done on the sample set of the Silbermann organ of the Stadtkirche Zöblitz by Prospectum. Score Buttstett, Allein Gott in der Höh sei.

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Oley's choral prelude on "Freu dich sehr o meine Seele" is the third chorale prelude from Manuscript Mus.ms. 30190 owned by the Staatsbibliothek zu Berlin. The recording was done the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Freu dich seht, O meine.

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The third chorale prelude by Buttstett in the Frankenberger Manuscript on "Allein Gott in der Höh sei Ehr" is my favorite of the four. It is probably meant for manuals only, but I made a version with the lower voice as pedal part as well. The recording was done.

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Oley's choral prelude on "Herzliebster Jesu, was hast du verbrochen?" was transcribed from Manuscript Mus.ms. 30190 owned by the Staatsbibliothek zu Berlin. The recording was done the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Herzliebster Jesu, was hast du.

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The second chorale prelude by Buttstett in the Frankenberger Manuscript on 'Allein Gott in der Höh sei Ehr' starts almost identical as the one I posted yesterday. The first five bars of the left hand have become the.

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Oley's choral prelude on "Mach's mit mir, nach deiner Güte" was transcribed from Manuscript Mus.ms. 30190 owned by the Staatsbibliothek zu Berlin. The recording was done the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam. Score Oley, Machs mit mir, Gott, nach deiner.

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The so-called Frankenberger Manuscript is one of the most precious items in the collection of the Netherlands Music Institute. It contains 196 organ chorale settings from the period 1650-1730, compiled and copied by the composer and organist Johann Gottfried Walther (1684-1748). Less then half of the volume (75 out of.

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