The fourth fantasia from manuscript Becker II.2.51 is based on the third church mode, here centered around “E La Mi”. I am not sure what this actually means. The fantasia that follows this one...
The title of this composition suggests that it offers the possibility to play it endlessly. And indeed, the manuscript indicates with numbers three points suitable for a repeat or a skip. The numbers “1”...
The second prelude to the melody of “Wer nur den lieben Gott lässt walten” from Höpner’s opus 2 features the choral melody in the left hand. In this prelude the musical story surrounding the...
Tag’s prelude to the chorale “Lobe den Herren” has the same construction as his prelude to “Wir Christenleut (see here: Christian Gotthilf Tag, Wir Christenleut). The chorale melody is not used as a cantus...
The third fantasia from manuscript Becker II.2.51 is again a Fantasia written in the second church mode, this time cetered around G. It is a bit shorter than the second fantasia and features only...
Seger’s prelude in G major (l 9) features a short introduction of 9 bars that leads to the tonic of G major, after which the actual piece starts in “Alla breve” time. I guess...
That the music of Höpner was quite popular among organists in his days is shown by the fact that his compositions were published in several collections and in music journals. Several of these collections...
Tag’s prelude to the chorale “Was alle Weisheit” (on the melody of “Christ unser Herr, zum Joran kam”) is a beautiful, longwinded composition. Though the piece is marked “Allegretto” I thought it best to...
The second fantasia from manuscript Becker II.2.51 is written in the second church mode, centered around tonal centre D. It has no less then 4 sections, each with a different theme, though you have...
Seger’s Fantasia in d minor (L 8) is one of his compositions that is a bit more well known than the compositions I published till today. There are several performances of this composition available...
The melody of “Wer nur den lieben Gott lässt walten” is almost perfect for the warm mildly chromatic harmonic style of Christian Gottlog Höpner. Which is probably why his opus 2 contains two preludes...
In his prelueㅇe to the melody of “Gott Vater sende deine Geist” (which is the same melody as “Kommt her zu mir, spricht Gottes Sohn”) Tag writes the introductuin on two different staves, suggesting...
The four part fugua in G major is the last composition from Marpurg’s “Fughe and Capricci per l’clavicembalo o per l’organo”, of which a digital copy is available online on the websiote of the...
A few years ago I published music composed by Georg Wilhelm Saxer (see here: Saxer, Georg Wilhelm). That music was taken from manuscript Becker II.2.51, owned by the Stadtbibliothek Leipzig. Besides the music of...
Seger’s Fuga in C major could be combines with the preceding Prelude (L 6) to create the idiomatic combination of “Prelude and fugue”. It’s almost certain that they were not intended as an indivisible...
