Karges’ Capricio Quarta Toni is based on Scherer’s Intonatio Tertia Quarti Toni and Intonatio Quarta Quarti Toni. Karges follows the originals closely, though he is far from note perfect. It is not always clear...
Karges’ Capricio in g is based on Scherer’s Intonatio Quarta Secunda Toni. The capricio consists of two segments and only the first one is a citation of Scherer’s composition. Karges cites Scherer’s Intonatio almost...
Karges’ Capricio in C is based on Scherer’s Intonatio Secunda Quindi Toni. The capricio consists of three segments and only the middle one is a citation of Scherer’s composition. Karges adds an introduction, that...
Sebastian Anton Schere was a German organist and composer who lived from 1631 – 1712. In 1671 he became organist of the cathedral in Ulm and remained there till his death. Only a few...
Manuscript Am.B. 340, available as digital copy at the Staatsbibliothek zu Berlin, was presumably written by Wilhelm Karges (1614 – 1699). The composers in this manuscript are sometimes given with there initials, but most...
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...
The Capricio in A, written on folio 27 of manuscript Am.B 340 bears the intials “B.M.”. It is unknown which composer is meantby these initials. As Karges was familiar with the circle of Sweelinck...
In his adaptations Karges did not only shorten the original compositions he based his adaptations on, sometimes he elongated the originals as well. The Ricercar Primi Toni is an example of the latter. This...
The Fantasia in D, written on folio 25 of manuscript Am.B 340 is again an anonymous work. It is again an Echo Fantasia and has many similarities with the preceding one. I am inclined...
Karges was familiar with the compositions of Sweelinck through Andreas Düben (1597 – 1662). Düben was a pupil of Sweelinck in Amsterdam from 1614 to 1620. And when Düben became organist of the German...
Karges includes in his manuscript (AM B 340, owned by the Staatbibliothek Berlin) at least three works composed by Heinrich Scheidemann. One of those three appears without Scheidemann’s initials in this manuscript, but is...
In manuscript Am. B. 340 Karges writes “J.P.” below the the title of this composition. And in this case it is certain that he means Jan Pieterszoon Sweelinck, as this piece is based on...
Even though Karges writes no initials below the title, the Fantasia in G is an adaptation of Scheidemann’s Canzona, WV 74. Karges does not introduce new elements in the composition, he just makes it...
Manuscript Am.B. 340 was presumably written by Wilhelm Karges. As was usual in those days composers were indicated with their initials rather than there full names. Or were not indicated at all. If Karges...
Manuscript Am.B. 340 was presumably written by Wilhelm Karges. As was usual in those days composers were indicated with their initials rather than there full names. Or were not indicated at all. If Karges...
