The third piece by Karges from manuscript Am. B340 is a piece called Capricio. Only the first half is (probably) written by Karges. The second half of the Karges' Capriccio is actually written by Froberger. It is the second half of Froberger's fourth Fantasia ("sopra Sol, La, Re"). Karges' first.

Sorge's prelude to "Nun lasst uns gehen" follows the pattern of the preceding ones: one manual for the accompaniment and one manual for the choral melody. Interesting in this piece is that the choral melody is presented in the accompanying voices before it appears on the solo manual. The accompaniment.

The second piece by Karges from manuscript Am. B340 is a beautiful praeludium. It flows elegantly in long arching lines. There's not much in terms of thematic of motivic development, yet the music manages to form an coherent whole. The recording was done on the sample set of the Mascioni of.

Five of the pieces in the Neumeister manuscript are without a named composer. Some scholars attribute these five pieces to Johann Michael Bach. To prelude to "Christ lag in Todesbanden" is one of those five anonymous pieces. It could well be written by Johann Michael Bach. Though since there is.

Kauffmann's prelude to "Herr Jesu Christ, ich schrei zu dir" is a relatively simple three part piece. The choral melody is in the upper voice. The other two voices provide an accompaniment based on short fragments of the chorale melody. Kauffmann prescribes a simple 8', 4', 2' registration for this.

Wilhelm Karges (1613 or 1614 – 1699), was a German organist and composer in the North German organ tradition. He was born in Berlin, where he spent much of his life. In January 1646 he was appointed chamber musician and composer at the court of the Elector Friedrich Wilhelm of.

This is the last of the anonymous Ricercari from the organbook of Matthias Rottenau left for me to publish . It is, in my opinion, not the best of the anonymous Ricercari, the voice leading is in places awkward and the piece feels a bit stiff. It shows that the.

Johann Anton Kobrich (1714 - 1791) was born in Landsberg am Lech as son of the town's organist. When his father died in 1730 Johann Anton became his successor as organist, a post he held for 61 years until his death. Shortly after his wife died in 1782, Johann Anton.

A nice little prelude by Kittel, one of the many from a manuscript Mus.1-U-514. Based on the last two notes it is probably meant for harpsichord, yet it sounds equally well on an organ. The recording was done on the sample set of the Silbermann organ of the Stadtkirche Zöblitz.

Kauffmann wrote two preludes to "Es ist das Heil uns kommen her". The second one is a nice bicinium. Kauffmann prescribes again a curious combination of stops: a Vox Humana 8' and a Fagott 16'. And leaves it to the performer to decide which hand should play which stop. The.

Kauffmann wrote two preludes to "Es ist das Heil uns kommen her". The first is a three part setting with the chorale melody in the soprano voice. Kauffmann prescribes 8' and 4' flutes as registration, or "das volle Werk" ( i.e. full plenum). I choose the soft variant for my.

Sorge's prelude to "Helft mir Gottes Güte preisen" is again proof of the notion that Sorge was inspired by the tonality of g minor. The piece has a relatively lengthy 3 part introduction before the choral melody enters. For the largest part of the rest of the piece the accompaniment.

"Fröhlich soll mein Herzen springen" is a choral that is sung on the first day of Christmas. Sorge wrote a festive prelude for this choral melody. The left hand and feet play a fast paced accompaniment to the choral melody in the right hand. Writte in the key of E.

The tonality of g minor seems to have been very inspirational to Sorge. Not only does he use it often (3 times in the first 6 choral preludes from this manuscript collection), he creates very elegant flowing music with it. This prelude is no exception. It has a relatively long,.

Another nice choral prelude by Sorge. The left hand and the feet play the accompaniment for the choral melody in the right hand. The accompaniment is constructed from one melodic idea that is repeated during the piece, like a cantata aria. The recording was done on the sample set of.