The chorale preludes of Kehl follow mostly the same basic pattern: a short introduction, the melody in the right hand addorned with grace notes, and a repetition of the introduction. The prelude on “Straff...
The chorale preludes by Kirnberger, contained in Manuscript Am. 386, owned by the Staatsbibliothek Berlin vary greatly in scope and texture. They range from elaborate bicinia, through virtuosic trio writing to four part textures....
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 Undecima Fuga. And Bach uses...
Manuscript Am. 386, owned by the Staatsbibliothek Berlin contains some 20 chorale preludes by Johann Philipp Kirnberger. And one by a certain “Mademoiselle Grunow”. It’s probably not a coincidence a collection of works by...
I already posted two preludes by Kirnberger on the choral “Wer nur den lieben Gott lässt walten”, but here is another one. There is even a fourth that I know of. That’ll follow at...
The second choral prelude by Johann Schneider on the choral “Vater unser im Himmelreich” was written pro organo pleno. It has the choral melody in the pedal in long solemn notes. In good baroque...
Of the few surviving choral bound works of Johann Schneider, two are based on the choral “Vater unser im Himmelreicht”. They are both finely crafted works that show we have much to regret that...
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 an achievement for a piece of only 46 bars....
Johann Balthasar Kehl (1724 – 1778) was a German organist, cellist and composer. A few months ago I started a series with Kehl’s choral preludes, but only uploaded one piece. So it’s time to...
Johann Schneider (1702 – 1788) was a German organist, violinist and composer. He was born in Oberlauter in Coburg as son of a miller. His musical training began at age 6. The first 8...
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 made a manuals-only version as...
Another dance-like fugue of Lohet. Apart from some unusual (to our ‘modern’ ears) harmonic progressions, this piece could have been written a 100 years later than it actually was. The recording was done on...
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. Yet it is a pleasant dance like piece,...
The third and last work by Christian Geist in the Uppsala manuscript is a choral prelude on “Lofvad vare du Jesu Christ”, in other parts of the world known as “Gelobet seist du Jesu...
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 than the fifth fugue. The harmonic progression though is in...
