Almost two months have passed since I posted Lohet's 19th fugue. So it's about time to publish the 20th and last fugue. It consists of two sections,…
Playing the eleventh fugue of Lohet one wonders wether Bach knew the fugues of Lohet. The theme of the fugue BWV 878 is the same as the theme of…
The Canzona by Lohet is really a fugue in much the same style as most of his 20 fugues. Perhaps it is callec canzona, because of it's sing-like…
Lohet's composition on the melody of psalm 9 is a nice example of dense renaissance contrapuntal writing. Each stanza of the choral gets a fugual…
The tenth fugue by Lohet is a lively piece. It's not exactly a mono thematic fugue, as there are four different segments discernable. Actually quite…
The thirteenth fugue by Lohet is more dance like than the preceeding fugue with its long lines. I think it is better suited to use the pedal with…
The twelfth fugue by Lohet is a slow flowing piece. It's very reminisence of a Kyrie by da Palestrina: long lines intertwine gracefully with each…
Lohet's composition on the melody of psalm 51 sounds to me like it was originally written for voices. It's a more simple composition than his…
In his fiftheenth fugue Lohet experiments with inversion. After the first statement of the first theme, it is immediately answered by its inversion.…
The fourteenth fugue of Lohet is again a calm flowing piece. It makes extensive use of syncopation, which makes a nice 'wobly' effect in the flow of…
The sixteenth fugue of Lohet has no less then three different themes. But they all do not get more than one exposition and then the fugue is over.…
The 17th fugue of Lohet is a mono thematic fugue and an intricate one. In it Lohet explores the different ways in which the theme and its inversion…
The 19th fugue of Lohet is again a mono thematic fugue. There is hardly a measure where the theme is not present in one of the voices. In atmosphere…
Of course I had to try Lohet on my new sample set as well. Lohet's eighteenth fugue is again some dense contrapuntal writing. The first part of the…
Simon Lohet (Loxhay) (c. 1550 – 1611) was a Flemish composer, possibly born in Maastricht. During his live he was mostly active in Germany. He was…
The fourth fugue of Simon Lohet offers a few surprises. At least to me. Firstly, parallel fifths and parallel octaves apparently weren't as…
The second fugue of Lohet from Johann Woltz’s Nova musices organicae tabulatura (Basel, 1617). The harmonic progression in this second fugue…
The third fugue of Lohet from Johann Woltz’s Nova musices organicae tabulatura (Basel, 1617). The recording was done with the sampleset, made…
Lohet's transcription of the motet "Media vita in morte" has the main melody in whole notes in the bass voice. The recording was done on the…
Lohet's Nona fuga has a far more subdued character than most of the preceeding fugues. I think it can best be played with use of the pedals. But I…
The last piece of Lohet there is for me to publish is a four voice treatment of Psalm 125. It's not based on the melody of Psalm 125 as we know it.…
Another dance-like fugue of Lohet. Apart from some unusual (to our 'modern' ears) harmonic progressions, this piece could have been written a 100…
Lohet's Quinta Fuga (I follow the designation in the original Edition, instead of naming it Fuga Quinta) shows its Renaissance roots more than the…
Lohet's Septima Fuga is actually two small fugues in one piece. Two different (but related) themes each get an exposition and then the fugue is over.…
Lohet's sixth fugue, though short, uses contrapuntal devices as stretto and diminution and combines them as well. In that respect it is more modern…
Simon Lohet (Loxhay) (c. 1550 – 1611) was a Flemish composer, possibly born in Maastricht. All of Lohet’s known works are contained in Johann…