Christian Erbach was a German composer, organist and teacher. Three documents from his own time give his age variously as 40 in 1610, 42 in 1615 and 50 in 1619, thus placing his birthdate between 1568 and 1573. Throughout most of his life, Erbach held the position of assistant or.

Two manuscripts containing 7 keyboard partita's are held by the Staatsbibliothek Berlin. The partita's vary in length, the number of dances, their type and order seem somewhat arbitrary. But they all have one thing in common: they stick to the mind. Originally meant for harpsichord, they work very well on.

Johann Gottfried Vierling (1750 – 1813) was born in Metzels. From 1763 he studied at the Lyzeum in Schmalkalden. In 1768 he succeeded his teacher Johann Nikolaus Tischer (1707–74) as organist in Schmalkalden. He later continued his musical studies with Carl Philipp Emanuel Bach and Johann Philipp Kirnberger. Vierling died.

The chorale prelude on "Nun lob mein Seel' den Herren" is a fugue on the opening phrase of the choral melody. No frivolous registration this time, just 8', 4', 2', or full organ. For this performance I choose the 'full organ'. It is a manualiter piece and to my ears.

Two manuscripts containing 7 keyboard partita's are held by the Staatsbibliothek Berlin. The partita's vary in length, the number of dances, their type and order seem somewhat arbitrary. But they all have one thing in common: they stick to the mind. Originally meant for harpsichord, they work very well on.

Again a piece with an unusual registration prescription. No indication however which hand should play on which manual. So I made two recordings. Probably Kauffmann meant the combination I play first, but the second one has a very nice effect as well. The recording was done on the sample set of.

In this choral prelude Kauffmann shows his more lyrical side. The recording was done on the sample set of the Müller-organ in the Sint Bavokerk in Haarlem by Voxus Organs for Hauptwerk. Registration: RW: Praestant 8', Holpijp 8' Score Kauffmann, O Herre Gott dein Göttlich.

Two manuscripts containing 7 keyboard partita's are held by the Staatsbibliothek Berlin. The partita's vary in length, the number of dances, their type and order seem somewhat arbitrary. But they all have one thing in common: they stick to the mind. Originally meant for harpsichord, they work very well on.

The introduction in this choral prelude is almost as long as the presentation of the choral melody that follows it. The piece shows Kehl at his best: relatively simple means are used to great effect. The recording was done on the sample set of the Silbermann organ of the Stadtkirche.

Recently I discovered digital scans of two manuscripts, containing partita's by Johann Adolph Scheibe. The composer Scheibe is a bit neglected, probably because of his criticism on the musical style of Johann Sabastian Bach. That he nevertheless wrote some worthwhile organ music, is apparent from his three organ trio's, two.

Again a piece with an unusual registration prescription. No indication however which hand should play on which manual. Perhaps Kauffmann meant it the other way around than I as play it. The recording was done on the sample set of the Müller-organ in the Sint Bavokerk in Haarlem by Voxus.

The chorale prelude to "Erhalt uns Herr bei deinem Wort", BWV Anh. II 50 sounds to me like it could have been composed by Bach. Other examples of this type of chorale prelude (manualiter, three voices) can easily be fond in the oeuvre of Bach. But then again, the same.

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.

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'..

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..