Wilhelm Karges, François Roberday, Capricio in D
This Capricio in d is based on Roberday’s “Caprice sur le mesme suject de Fugue 6me”. Roberday’s original consists of three episode of which Karges only uses the first one. Karges leaves more then...
Category: Scores
Friedrich Wilhelm Marpurg, Fuga in a moll à 3
Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A. Dröbs (if I read the...
Friedrich Wilhelm Marpurg, Fuga in a moll à 5
Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A. Dröbs (if I read the...
Friedrich Wilhelm Marpurg, Fuga in c moll
Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A. Dröbs (if I read the...
Friedrich Wilhelm Marpurg, Fuga in B Dur
Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A. Dröbs (if I read the...
Wilhelm Karges, François Roberday, Capricio in d
This Capricio in d is based on Roberday’s “Fugue 5me”. Karges largely follows Roberday’s original, but he adapts it to suit his needs. As with a lot of Karges’ adaptations, Karges adds several possibilities...
Friedrich Wilhelm Marpurg, Komm o komm du Geist des Lebens
The last composition from the “Zweiter Versuch in figurirten Choräle und Fugen”, by Friedrich Wilhelm Marpurg, is a choral Trio, based on the melody of “Komm, o komm, du Geist des Lebens”. The right...
Friedrich Wilhelm Marpurg, Mir nach spricht Christus under Held
The second complete choral prelude from the “Zweiter Versuch in figurirten Choräle und Fugen”, by Friedrich Wilhelm Marpurg, is a prelude to the choral “Mir nach spricht Christus under Held”. It is a lively...
Johann Sebastian Bach (?), Wir glauben all an einen Gott (BWV Anh. II 69)
The second appendix to the catalogue of compositions by Johann Sebastian Bach, contains the works of which Bach’s authorship is doubtful. Of some of these compositions one wonders why they ever made to this...
Friedrich Wilhelm Marpurg, Fuga in a moll (1)
Of Marpurg’s didactical writings, the Abhandlung von der Fuge (1753–4) is a authoritative discussion of fugal practice in late Baroque music. Marpurg’s descriptions of small- and large-scale contrapuntal and fugal procedures, based largely on...
Friedrich Wilhelm Marpurg, Fuga sopra Allein Gott in der Höh sei Ehr
Of Marpurg’s didactical writings, the Abhandlung von der Fuge (1753–4) is a authoritative discussion of fugal practice in late Baroque music. Marpurg’s descriptions of small- and large-scale contrapuntal and fugal procedures, based largely on...
Wilhelm Karges, François Roberday, Capricio E vel A
Following the series of Caprici, based on composition by Sebastian Anton Scherer, manuscript Am.B. 340 contains several caprici based on compositions by Francois Roberday. I already published one of them, the Capricio in g....
Friedrich Wilhelm Marpurg, Wach auf mein Herz und singe
The Bayerische Staatsbibliothek in München owns two collections of choral preludes and fugues by Friedrich Wilhelm Marpurg. The compositions by Marpurg’s hand that I published till now were transcribed from the first collection. The...
Friedrich Wilhelm Marpurg, Herr ich habe missgehandelt
Marpurg’s prelude to the chorale “Herr, ich habe misgehandelt” is one of Marpurg’s more ambitious compositions. The choral melody is played with the pedals, while the hands play an elaborated accompaniment. The soprano voice...
Wilhelm Karges, Sebastian Anton Scherer, Capricio Septimi Toni
Karges’ Capricio Septimi Toni is based on Sebastian Anton Scherer’s Intonatios Tertia and Secunda Septimi Toni. As with the Capricio in G the composition is almost identical to Scherer’s original. Karges omits some of...