The melody of “Wer nur den lieben Gott lässt walten” is of itself already a bit chromatic. Marpurg enhances this aspect in his prelude based on this melody, and creates a composition full of...
Manuscript Mus ms P285, Rara lb 36 contains two compositions that were presumably not written by Johann Sebastian Bach. Hence their inclusion in the second supplement of the catalogue of Bach’s compositions that contains...
Karges’ Capricio Secundi Toni is based on Scherer’s Intonatio Tertia Secundi Toni. Scherer’s original only makes up the first half of Karges’ composition. Karges adds four bars to Scherer’s original before coming to a...
In his prelude to “Schmücke dich, o liebe Seele” Marpurg uses the same procedure as in het preludes to “Was Gott thut das ist wohlgetan”, “Von Gott will ich nicht lassen” and “Aus tiefer...
In his prelude to “Aus tiefer Noth schrei ich zu dir” Marpurg uses the same procedure as in het preludes to “Was Gott thut das ist wohlgetan” and “Von Gott will ich nicht lassen”....
Karges’ Capricio Sexti Toni is based on Scherer’s Intonatio Tertia Tertii Toni and Intonatio Quarta Tertii Toni. Karges uses only the first 12 bars of Scherer’s Intonatio Tertia Tertii Toni and skips the remaining...
Marpurg’s prelude to the choral “Was Gott thut das ist wohlgetan” is in the same style as his prelude to the choral “Von Gott will ich nicht lassen”. The composition has a simple 3...
Telemann’s prelude to the choral “Herr Jesu Christ, dich zu uns wendt” appears in no less then three different catalogues. As it is nowadays known to be a composition of Telemann, it apeats in...
Marpurg’s prelude to the chorale “Was mein Gott will” is again a case of two compositions rolled into one. The first is a bicinium, where the choral melody is embelished with eigth notes in...
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...
Marpurg wrote several choral preludes that are actually two seperate preludes rolled into one. Marpurg’s prelude to “Auf! Auf! meine, mit Freuden” is another example of the ‘two for the price of one’ type...
A few days ago I published Marpurg’s prelude to the choral “Von Gott will ich nicht lassen”. It is fascinating to see that the left hand part of that composition is really not much...
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...
Marpurg’s prelude to the chorale “Ach Gott und Herr” is again a case of two compositions tolled into one. As it were, two preludes for the price of one. The first one features the...
Johann Caspar Vogler (1696 – 1763) was a German organist and composer. He was born in Hausen, near Arnstadt. Vogler studied with Johann Sebastian Bach, first in Arnstad when Bach was organist there, and...
