The prelude in D DUr, L 22, starts with a long improvisatory-like introduction. Some passage are written out in broken chords, others passages are just long chord-sequences. It is not clear wether these chords...
The 21th composition from manuscript Becker III.8.63 is a fugue in a minor. With the possible exception of the Prelude in C, L 16a and the Fugue in C, L 16b, manuscript Becker III.8.63...
Seger’s prelude in C (L 20) is probably meant as a manualiter piece. For the true virtuoso it is of course possible to play the bass line with the feet, but I would have...
Since manuscript Becker III.8.63 notates the music on just two staves, it is most of the tmes a bit of a guess wether or not a the pedals have a role or not. Sometimes...
The 18th composition from manuscript Becker III.8.63 is a prelude in B flat major. It is a nice play with the motif introduced in bars two and three. The prelude wanders up and down...
The next compositin from manuscript Becker III.8.63 is a prelude in E flat major. I sometimes wonder how close the versions in manuscript Becker III.8.63 are to Seger’s original compositions. This prelude in E...
The numbering of this fugue and the preceding prelude in manuscript Becker III.8.63 (16a and 16b) suggests they belong together and should be played as one “Prelude and Fugue”. If that’s true than it...
Seger’s prælude in C Dur, L 16a, is closely related to his Præambulum in C Dur, L 5. Both preludes have the same two bars as the main musical material. After these first two...
The fifteenth composition from manuscript ecker III.8.63, held at the Städtische Bibliotheken Leipzig is a rather ambitious one. Called “Transitus per omnes tonos” it promises a passage through all tonalities. The compositions does not...
All compositions contained in manuscript Becker III.8.63, held by the Städtische Bibliotheken Leipzig, are in the manuscript all ascribed to Seger. Nevertheless, quite a few compositions are in other sources attributed to other composers....
Seger’s prelude in B flat major (L 13) is very similar to the prelude of the same tonality that precedes it in the manuscript (L 12). This prelude could probably be played with the...
Playing a composition by Seger brings the question whether or not to play it with the pedals or without. The pedal board of Seger’s organ in the Týn Church in Prague had in his...
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”...
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...
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...
